Part of the small collection of uniforms in DAHC's possession. Like most of these uniform this one stems from the 1950-ies. The shoulder insigne indicate a "Genie" division (Engineering Corps).Many of the 1950's period uniforms came from people that had been discharched after having served in the Dutch East Indies (now Indonesia) during the Indonesian War of Independence.Dutch military field uniform made from heavy greenish material: (1) short jacket and (2) pantsShort jacket (brass, insect eye - like button on each collar, St Joris (St George) patch on shoulder straps, "Prins Alexander" on sleeves, Dutch army emblem with "Je Maintiendrai", the Dutch national motto, on left sleeve), marks inside jacket W MvO 1954, Motecht door MITN.uniform army

Awabakal is the language of the Aboriginal people from the Newcastle, Lake Macquarie and Lower Hunter region of New South Wales in Australia. As Lenny takes his walk and collects insects, we learn some words that relate to the bush, to the landscape and the little creatures that would be found there. This book has been printed with sound, which can be heard through an Audio Reader. If you have an Audio Reader, run it over the pages to hear the sound.word lists, colour illustrationsawabakal, newcastle, lake macquarie, hunter region, juvenile literature

The name of this chair, Lepidoptera, refers to the insect species of moths and butterflies as LeAmon drew upon the anatomy of a butterfly to develop the concept of the chair?s structure, colour and pattern. Another key feature of the design was the use of textile remnants from automotive textile manufacturer Autofab,recalling LeAmon's redeployment of leather offcuts from the manufacture of cricket balls to make her 'Bowling Arm' series of bangles.industrial design, furniture

ACRONYMS: The name of the organisation is Australian Trust for Conservation of Nature (ATCV) from 1981 to 1999 and Conservation Volunteers Australia (CVA) from 2000 onwards.............................................Last used in 1999 the Echidna logo was used for 17 years. It was designed by John Zulic, then a young graphic designer at Sovereign Hill Outdoor Museum in Ballarat, and by 2010 the longest serving employee. John was briefed by Peter Hiscock, then director of Sovereign Hill and also President of ATCV, in 1982 to design ATCV’s first logo. Through the image of the echidna John Zulic tried to capture a unique Australian identity (a combination of uniqueness, strength, resilience, role in a balanced habitat and a national feel) for a fledgling local group with big plans. John presented concept to Tim Cox and Peter Hiscock – both were enthusiastic: the rest is history. For many years newly arriving volunteers were photographed with the mascot.The echidna was synonymous with ATCV for many years. The logo appeared on team vehicles and buses and on all publications until 2000. For many years new volunteers had their photograph taken with "Eddy". Even today overseas visitors to CVA's head office clamour to be photographed with it.This item is a taxidermal (preserved and stuffed) echidna. The echidna is an Australian marsupial animal resembling the porcupine or hedgehog found in other continents. It is a nocturnal, burrowing, egg-laying mammal of the genera Tachyglossus and Zaglossus of Australia, Tasmania, and New Guinea, having a spiny coat, slender snout, and an extensible sticky tongue used for catching insects. NOTE: The provenance of this item is not yet established but it has been the unofficial "mascot" of ATCV/CVA from soon after foundation till the present.australian, echidna, mascot, logo, wildlife

Gloria PETYARRE (c.1942 - 2021) Born: Mosquito Bore, Utopia, Northern Territory Language Group: Anmatyerre Community: Utopia, Northern Territory Gloria Petyarre's depiction of the Kurrajong bush medicine leaves with her layered, swirling brushstrokes is her iconic motif. In 1999 Gloria Petyarre became the first Indigenous Australian artist to win the 'Wynne Prize for Landscape' at the New South Wales Gallery. She is credited with being the creator of this popular style, which was adopted and adapted by several generations of her family members over Gloria's retirement in 2019. The artistic tradition in Utopia started in the Utopia Women's Silk Batik Group introduced in 1977. Gloria Petyarre and her aunt Emily Karne Kngwarrye were found members of this group. Gloria Petyarre started painting on canvas in 1988 with her brushstrokes and layered paint having foundations in the batik tradition. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Utopian Art Movement‘Bush Medicine Dreaming’ depicts the leaves of a special plant that is used to aid in the healing process. The leaves are collected and then boiled to extract the resin. Following this, the resin is mixed with kangaroo fat collected from the kangaroo’s stomach. This creates a paste that can be stored for up to six months in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and as an insect repellent. The Dreaming that is the basis for Petyarre’s paintings comes from the important ceremonies and traditions held by the people of Atnwengerrp. art, artwork, gloria petyarre, aboriginal, utopia

These boots had a metal plate inserted in sole to protect the feet of personnel wearing boot. This was after earlier boots without this protection did not protect the wearer from sharpened spikes eg bamboo set in pits or “punji” pits, during the Vietnam war. The laces were done up by knotting one end,threading from bottom hole across to opposite hole,up next hole on same side,across to opposite hole etc. This meant that only one loop per opposite holes was all exposed for a quick and easy cutting to release the boot in case of injury to wearer.These boots were typically worn on parade,training and in combat during the Vietnam war era and after.The LEFT boot solid black leather uppers with split leather tongue sewn to sides - making the boot semi water and insect proof.The sole is hard black rubber compound with 7 cleats on sole and 3 cleats on heel,all part of rubber sole. Woven black cotton laces. 30 mm leather reinforcing strip sewn on inside top of boot. 11 by 5mm metal holes per boot for laces. Sole is welded on. “Dunlop made in Australia” and “5/5” on sole in front of heel. Inscribed on top reinforced inside leather band is- “ B 22 R.B.T 1439 188” on one side and “ 5/6” on the other.boots, general purpose, g.p., vietnam war

These boots had a metal plate inserted in sole to protect the feet of personnel wearing boot. This was after earlier boots without this protection did not protect the wearer from sharpened spikes eg bamboo set in pits or “punji” pits, during the Vietnam war. The laces were done up by knotting one end,threading from bottom hole across to opposite hole,up next hole on same side,across to opposite hole etc. This meant that only one loop per opposite holes was all exposed for a quick and easy cutting to release the boot in case of injury to wearer.These boots were typically worn on parade,training and in combat during the Vietnam war era and after.The RIGHT boot solid black leather uppers with split leather tongue sewn to sides - making the boot semi water and insect proof.The sole is hard black rubber compound with 7 cleats on sole and 3 cleats on heel,all part of rubber sole. Woven black cotton laces. 30 mm leather reinforcing strip sewn on inside top of boot. 11 by 5mm metal holes per boot for laces. Sole is welded on. “Dunlop made in Australia” and “5/5” on sole in front of heel. Inscribed on top reinforced inside leather band is- “ B 22 R.B.T 1439 188” on one side and “ 5/6” on the other.boots, general purpose, g.p., vietnam war

Clothing. Suit coat, part of a man's three piece suit.Pure wool tweed suit coat. Three button front. Three buttons on each cuff. Rear split. Taffeta type fabric lining. Brown with fine black and red stripe to form a plaid type design 7 x 5.5 cms.''Cut away'' shaped front, two front pockets, one chest pocket, two inside pockets in lining. Some slight insect damage.The ''Buckleigh'' Exclusive to Buckley's, 36R, Pure wool.costume, male suit, tweed suit coat

The Oakey Army Aviation Centre is a training facility formed in October 1943 at Oakey, Queensland. It was built with the purpose of providing a maintenance facility: the units would erect, repair and insect aircrafts and engines. At the end of the war in 1945, the depot was used to store surplus aircraft. In early 1946, the RAAF Station Oakey was disbanded and categorised ‘to be retained but not maintained’. Since then, the RAAF Station Oakey facilities have been used few times for some minor activities. Although there are no information relating to the owner or usage of the cup; it holds historic significance for its direct link with the Australian Army Aviation Centre in Oakey and its involvement in World War II; and more generally for its link to the Australian Army.Large white cup with a handle; decorated with a blue ink symbol (displaying a crown and below it, a bird handling two swords) and blue ink inscriptions (from the Army Aviation Centre Oakey). Inscription on top: 'Frank McNamara VC Club' Inscription at the bottom of the symbol: 'Vigilance' Inscription circling the symbol: 'Army Aviation Centre Oakey'

Three photographs of Frederick Parkhurst Dodd born 1861, in Wickliffe Victoria and the son of Frederick Willian Dodd and Maria Dodd nee Mayes. The photos were emailed to the society on 30.11.2011 showing Frederick P. Dodd as an Entomologist. Photo 1 shows Fredrick as a young man. Photo 2 as an older man with a large net on a long pole obviously netting insects. Photo 3 shows Frederick with a framed collection of large and small butterflies.Three small photo prints of Frederick Parkhurst Dodd as a young man and then at later stages of his life. stawell portrait

Part of medical kit from WW2small bottle with metal screw lid. bottle labelled 'poison'.Front of label also reads;CARBOLIZED PETROLATUM (improved). (Less than 3% Carbolic Acid). FOR WOUNDS - CUTS - BURNS - INSECT STINGS - ITCHING PILES - ETC. Sole makers the 'Sanax' Co Moorabin Vic. Back of label reads: DIRECTIONS FOR USE. Apply to affected parts and cover with gauze, then bandage.-- NB This preparation must not be used if liquid has separated

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Etched bookplate featuring ants. This is the only etched Bookplate Pro Hart created, and one of only two Ex Libris designs created by the artist. It was made in Broken Hill, New South Wales in 1999 for his friend Robert Littlewood. Printed on fine art paper in the intaglio method directly from the original copper plate. The plate was needled by the artist using a make-shift tool cut from mild steel. This Bookplate is the subject of a small Private Press book written by Professor Karal Ann Marling (retired), of the University of Minnesota, to be published by The Lytlewode Press, 2010.pro hart, ex libris, bookplate, robert littlewood, keith wingrove memorial trust, ant

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A framed red, blue and coral asbstract painting featuring one ant. Signed lower left "Ant" 1967art, artwork, ant, pro hart, australian outback painting, oil on board, ballarat teachers' college collection

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition print. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.pro hart, yabbie, printmaking, available

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Bookplate featuring a giant Pro Hart with palette dwarfing poppet heads in Broken Hill."Ex Libris PRO HART"pro hart, bookplate, poppet head

This meat safe has no known local provenance but it would be typical of the safes used in a domestic situation to house fresh meat. Usually the safe was hung in a house corridor or verandah or outside in a cool place where there was a breeze that passed through the mesh and kept the contents cool. The mesh also prevented flies and other insects from getting into the safe. Meat safes were widely used in Australian homes in the 19th century and early to mid 20th century, sometimes in conjunction with ice chests, until they were replaced by refrigerators. This item is retained for display purposes as an example of domestic food preservation in Australia 80 to 100 years ago.This is a metal box with a rectangular-shape base and a semi-circular top. All sides except the top and the bottom are made of fine metal mesh. The front is reinforced with metal strips and has a metal clip. The curved top is ridged and has a metal clip.The safe is somewhat rusted and damaged. Registered under Commonwealth Act Nos. 101-102-103 G.W.Rowleyfood preservation – australia, warrnambool, history of warrnambool

A brown hardcover handbook with the title printed in gold lettering on the front cover Handbook of the Destructive Insects of Victoria Part II by C. French, F.L.S., F.R.H.S., Government entomologist with the price 2/6. at the bottom right hand corner. The spine has the title and author printed in gold. T. Sebire March 29th 1894 is written in black ink on the top right of the title and contents pages. There are coloured plates and black and white illustrations, an appendix and drawings of various pumps and equipment required for use. Loose pages, some tears, and tanning is noted. 222p. non-fictionA handbook of the destructive insects of Victoria with notes on the methods to be adopted to check and extirpate them with useful diagrams and illustrations of machines and pumps and the plants.agriculture, pest control, entomology

The wooden crate contains a set of patterns or moulds that were once used at Briggs’ Brass Foundry for making sand moulds. The traditional method of sand casting is over 2000 years old. It is part of a crafted process used to make brass and copper alloy goods suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-corrosive and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry display was one of the early ‘working craft’ shops at Flagstaff Hill. It included a historic Cornish chimney that was set up as a working model, telling the story of heat from furnaces to smelt metal, which would then be poured into the sand moulds. This chimney is made from specially curved bricks and is about two-thirds of its full height when originally located at the Grassmere Cheese factory. HISTORY of BRIGGS BRASS FOUNDRY: - The family business was founded in 1912 by Herbert Harrison Briggs (1963-1931) with his son George Edward Briggs, trading as Briggs & Son Foundry at 70 Wellington Street, Collingwood. Younger son Cyril Falkiner McKinnon Briggs joined the foundry in 1922, and it was renamed H H Briggs & Sons Foundry. Both sons ran the firm after Herbert’s death in 1931, making products mainly for marine purposes. They became Bell Founders in 1936 and were known for their specialty of high-quality ship bells. They produced miniature varieties of these and other decorative items such as small propellers. The firm became known as Briggs Marine Foundry. The great-granddaughter of Herbert Briggs inherited the Briggs Brass Bell, similar to the one at Flagstaff Hill. Cyril became the sole family member of the firm in 1965. The Briggs Marine was an exhibitor at the 1965 Boat Show, where he advertised as “non-ferrous founders” and “Bell Specialists”. The foundry relocated to Chesterville Rd, Moorabbin. Cyril passed away in 1967. It is thought that either Cyril or his business partner Frank Lee donated the objects from the Briggs’ Foundry around the time when the business moved to Moorabbin. However, Flagstaff Hill hadn’t been thought about until 1972. The donated items were registered in the Collection in 1986 but they could have been in storage from an earlier date. In October of that same year, Briggs Marine restored Schomberg Bell, a shipwreck artefact from the collection at Flagstaff Hill. Peter Oram, who had worked for the previous owners of Briggs Marine as a fitter and turner, took over the firm in 2014, reviving some of the old casts for current use. The business is now located at Seaford in Victoria and is part of Alliance Casting & Engineering Solutions (Alliance Casting Pty Ltd). In 2016 the original Collingwood Foundry building was repurposed as a thriving business hub named The Foundry. The crate and its patterns are significant for their association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. The patterns are associated with the long-running firm, Briggs Brass Foundry, that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine is also associated with the Schomberg Bell in Flagstaff Hill, restoring the bell to is former state to show an example of the bell from a luxury mid-19th century vessel. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. Wooden rectangular crate with removable wooden lid. Inside is a set of wooden patterns of various shapes and sizes for making sand moulds in a metal foundry. The crate is made from thick wooden planks nailed together. The extended wooden struts on the long sides form a frame to hold the wooden lid. A pair of metal handles are at each short end of the crate, fixed with strong metal bolds. Between each pair of handles is an inscription stamped into the wood. The underside of the crate has red paint splashes. There are insect holes in the wood but no sign of current infestation. Stamped: "H.33 / II" (H may be N or a square B)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pattern, mould, foundry, brass foundry, metal foundry, crate, box, wooden container, briggs, traditional method, trade, sand cast, cast, brass alloy, copper alloy, marine equipment, marine tools, marine fittings, briggs' bronze, copper tin zinc lead, non-corrosive, briggs family, brassware, metalware, foundering, metalwork, maritime, casting, cornish chimney, curved bricks, grassmere cheese factory, 1912, herbert harrison briggs, h h briggs, george edward briggs, briggs & son foundry, collingwood, cyril falkiner mckinnon briggs, cyril briggs, h h briggs & sons foundry, bell founders, schomberg bell, alliance casting & engineering solutions, collingwood foundry, ship chandlers, marine products, flagstaff hill, warrnambool, maritime museum, maritime village, briggs & son brass foundry, briggs marine, moorabbin

The promissory note issued at Belfast, now Port Fairy, Victoria by the “Bank of Victoria” is an early example of currency issued by a private bank. This note was issued in 1853 the same year that the bank commenced business in Belfast. Details of the first production of a banknote backed by the Australian Government occurred on 1 May 1913 following the "Australian Notes Act of 1910" (Australian National Museum). The first building the Bank of Victoria purchased in Belfast was of timber and later sold. Smith & Watts Architects advertised for tenders in the Melbourne Argus on Thursday 29/4/1869 for the erection of a substantial building that is now occupied by Moyne Shire Council in Cox Street. A meeting of the Directors of the Bank of Victoria elected on 1 October 1852. A ballot took place for four directors resulting in Wm. Highett Esq. Wm F. Splatt, Esq. M.L.C., Alex. Wilson, Esq. and W.H. Tuckett” elected as Directors. It was reported from a later meeting in “The Argus” Melbourne on 3 August 1853 that a branch had opened in Swanston Street, Melbourne on 3rd January 1852 with Henry Miller as Chairman of the Board and J. Matheson as the Manager; followed by Geelong on 12 August 1852. Then at the request of “influential inhabitants”, the Belfast branch commenced on 11 May 1853, which had “already met with very general support and encouragement”. This was a colonial bank at the time of vast pastoral runs and gold speculation – how "Mr Thomas [....ton?]" came by his fortune of One Hundred and Twenty-Seven Pound and five shillings can only be wondered at until further research reveals the story. This promissory note records the early colonial system of banking and reflects the economic growth and entrepreneurship of the South West Region of Victoria.Banknote of fine paper. There is a fold multi-crease down the centre top to bottom, lighter creasing across the top and angular creasing to the bottom left and right-hand corners. Yellow spotting is visible across the object breaking through the grey blue colour of the paper. A dark ink blot appears near the top right-hand corner. The left-hand side of the banknote is uneven. The back of the document has darker spotting, a used dirty look patina and some insect spotting. Horizontal crease markings can be seen creating quarter marks. The front of the banknote reads: "No.41/ Exch.ge for £127.57- Bank of Victoria/Issued at 1% prem/Thirty days after Sight of this Third of Exchange/First and Second of the same tenor and date being unpaid pay to the order of/Mr. Thomas [Raliston?]/One hundred and twenty seven pounds five shillings Sterling silver received/To the Manager of the London Westminister Bank London/for the Bank of Victoria [signed?] Manager/Ent.d [?] Robertson Account.t. The blue printed Bank of Victoria logo features a world globe, sailing ships, wool bails, sheep, colonial building and mining tools. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, promissory notes, bank notes, bank of victoria, smith & watts, smith & watts architects, 1853, william highett, william f. splatt, alex wilson, w.h. tuckett, henry miller, money miller, belfast (now port fairy)

Eastern Meadowlarks live throughout the grasslands and farms in eastern North America. On the ground, their brown-and-black dappled upperparts camouflage the birds among dirt clods and dry grasses. When in flight or perching, they reveal bright-yellow breasts and bellies, and a striking black chevron across the chest. The Eastern Meadowlark has a diet which consists of mainly insects and seeds. These birds forage by walking on the ground and taking insects and seeds from the ground and from low plants. In winter, these birds may choose to forage in flocks. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Eastern Meadowlark has a yellow breast and throat with black plumage in the shape of a 'V' on it's throat. This particular specimen has a long pointed bill which is in the shape of a spear. The crown of the bird is a dark brown and it also has lighter brown/yellow stripes on the brow. The back, wings, and tail are light brown with dark brown mottling. This specimen stands upon a wooden platform and has an identification tag tied around its leg. The legs are long and the specimen has been styalised in an upright position.Label: [illegible] Ant-Eating Thrush / Catalogue, Page 66. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, eastern meadowlark, meadowlark

Bitters / lamplough's pyretic saline /Thomas Smith and sons Established 1848 / collin's cordial cephalic snuff / Keatings insect powder Keatings cough lozenges. Inside is a Musical clipping which gives a current date of 27.5.1850 The book may be dated 1856 - 'One of the last great facts recorded among the memorabilia of the year 1856 ….Floral patterned cloth - covered book Circa late 1800's ? ''DR LIVINGSTONE - HIS LIFE AND ADVENTURES'' (BELONGING TO G D HARRIS - AXEDALE 62 pages.the front and back covers contain adverts on pink coloured paperperson, individual, harris

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos

Two newspaper cuttings pasted onto a sheet of paper. (1) "Golden fruit - girl students at the Burnley Horticultural College gathering a fine crop of oranges in the orchard." in The Argus, 16th July 1931.(2) student examining some blossom, with the caption: "Searching for thrips: the thrips menace has made its appearance again on fruit blossom in some districts of Victoria. This photograph, taken today at the Burnley Horticultural School, shows one of the girl students with a magnifying glass looking for the minute insects. A few isolated thrips have been discovered on the buds of some of the trees at the school."female students, oranges, thrips, students working outside, fruit, orchard, field station, blossom

The Coolgardie safe was invented in the late 1890s on the Western Australian goldfields. Its invention was credited to a local contractor named Arthur Patrick McCormick. It was a practical system to preserve food prior to modern refrigeration. The wire grid kept the food safe from vermin and allowed breeze to blow through. It was often covered with wet hessian so that as the breeze circulated the water evaporated, creating the same concept as coolant in modern refrigerators and ice boxes. In most respects it was a variation of the bushman’s hessian bag hanging in a tree. In larger towns and cities during this time period large "ice works" could deliver block ice to areas that required a form of refrigeration. These ice blocks where held in early refrigerators to keep perishables cool. In isolated or rural households, the Coolgardie or meat safe was the next best, practical solution for food preservation. This safe was used in the home of the Conway family in Wodonga.This item is very significant to the Wodonga region as it represents the initiative and problem solving skills of the early settlers. It also reflects the primitive conditions in which they lived before the arrival of more modern services such as electricity.Meat safe or Coolgardie safe manufactured in Australia. This safe is made from metal and has been painted in green paint. 2 sides of the safe have a pattern of 6 squares of holes to allow for ventilation and air flow. The holes would also guard against insects and other vermin. There is one shelf inside, dividing it into 2 sections. The safe has a hook attached so that it can be suspended, often from a tree or on a verandah to increase air flow. The safe would often be covered by wet hessian to promote further cooling and preservation of foods such as milk, butter and meat.coolgardie safe, food preservation, pioneers innovation

The little blue bag was stirred around in the final rinse water on washday. It disguised any hint of yellow and helped the household linen look whiter than white. The main ingredients were synthetic ultramarine and baking soda, and the original "squares" weighed an ounce and cost 1 penny. Reckitt’s had been in the blue and starch business in Hull, England, even before they started importing French ultramarine in the 1850s to make the new blue rinse additive at their English factory. These blue bags, being alkaline , were useful to ease the pain of wasp, ant and insect bites. Reckitts blue bags were an essential part of washday for early settlers in Moorabbin Shire and continued to be used throughout 20thC.Laundry blue bags (2), 'Reckitt's' Blue Bag, paper-wrap made by Reckitt and Colman (Australia) Ltd, Australia, c 2oth C. Made of powdered ultramarine and baking soda. RECKITT& COLMAN PTY.LIMITED SYDNEY AUSTRALIA / Reckitt's Bag Blue / Squeeze the bag in the last rinse / & stir. This keeps your linen white / / RECKITT & COLMAN PTY. LIMITED SYDNEY AUSTRALIA. Red & white stripes Regd.reckitts pty ltd., hull u.k., moorabbin, bentleigh, early settlers, pioneers, laundry equipment, linen, clothing, washing aids

The Great Spotted Woodpecker is found throughout Europe and Asia. They are generally solitary birds and do not migrate unless found in northern climates. They are omnivorous and can extend their tongue when feeding on insects, insect larvae, and seeds, among other things. They generally only stay with the same mating partner for one season and are extremely territorial. The Great Spotted Woodpecker generally has red eyes and a deep red lower belly. The males have a red nape, whereas the females do not. They have a white upper chest and white and black head, back, tail feathers, and wings. Juveniles are less vibrant in colour and their undertails and lower bellies are a dirty pink or brown. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Great Spotted Woodpecker specimen is a juvenile female. The undertail is a faint pink while the head and neck is black and white. The tail feathers and wings are a faded grey-brown and the underbelly is white. This specimen is standing on a wooden mount with a swing tag attached to its leg.Swing tag: 2e(?). / Great-Spotted Woodpecker / Catalogue page, 66 / Metal tag: 4304 / torn swing tag: (?)s ma(?)- / q. / Nord- Deu(?)- / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great spotted woodpecker, woodpecker

Gwendoline (Gwenda) Grace Watson Davies, only daughter of Mr. William Watson Davies and Mrs. Grace Davies (nee Hayes) of Arthur Street, Eltham was born in Newport, 18 February 1908. Gwenda grew up in Arthur Street and when she left school she was employed as an officer at the State Bank of Victoria, Chief Accountants Department, Head Office, Elizabeth Street, Melbourne. During 1933-1934 in her early to mid-twenties, Gwenda wrote a series of poems which were captured in three books: one a leather bound three-ring binder with personalised gold embossing on the cover and two paper booklets held together by pink ribbon. These poems are a reflection of her childhood days, home, her mother, her environment, pioneering days and other miscellaneous subjects including one example titled “EIGHTEEN YEARS TO-DAY”, an homage to the brave men of Gallipoli. On October 20, 1937 after ten years of service, Gwenda submitted her letter of resignation effective November 26th as she was to be married in the near future to Fred Jones. Frederick Geoffrey Jones, born 7 January 1911, third son of Mr. and Mrs. W. Jones of Napoleon Street, Eltham, married Gwenda at the Eltham Methodist Church on 27 November 1937. They made their home at ‘Llangollen’, Arthur Street, Eltham, a new house Fred had constructed earlier that year opposite the Shire Offices. Their residence was recorded in the Electoral Rolls from 1963-1980 as 6 Arthur Street, Eltham which was situated on the corner of Arthur Street and present-day Commercial Place. In the 1970s their home was sold and demolished to make way for the new shops. They built a new home at the top of the hill in Bible Street. In the Electoral Rolls for 1943-1980, Frederick’s occupation was recorded as a Plumber’s Assistant. Fred was also a long-standing member of the Eltham Cemetery Trust. He was first appointed 26 April 1944 and resigned 17 July 1957 to be appointed to the Warringal and Eltham Joint Trust where he served till February 1980. He then re-joined the Eltham Cemetery Trust and served a further 14 years till his resignation on 24 August 1994. In total, Fred represented the interests of Eltham Cemetery for 50 years (1944-1994). Gwenda and Fred were blessed with a son, Frederick William Jones in March 1942. Sadly, Frederick only lived two days and was buried at Eltham Cemetery on March 11. It is not known whether his grave is marked. A second son, Geoffrey Morris Jones arrived 25 November 1944 but he sadly contracted polio as a child. A fall down the front steps of Fred and Gwenda’s new home in Bible Street culminated in Geoff’s death from a heart attack whilst in transit to the Austin Hospital on February 6, 1979, at age 34. He was also interred in the Eltham Cemetery. Geoff was posthumously awarded the British Empire Medal for his services to fire safety at the CFA. A small man, handicapped from his childhood polio, he had figured prominently in the area as an active Apex member and as group officer for the 13 local brigades in the CFA Lower Yarra Group. His work for the CFA, all voluntary, included writing a fire-fighting manual and the innovation of aerial fire spotting and weekly fire reports. Gwendoline and Fred were presented with Geoff’s B.EM. award at Government House. Four years later on the anniversary of Geoff’s death, Gwenda could not sleep and collapsed in the hallway at home from a heart attack, 6 February 1983 at age 74. She was interred with her son Geoff, at Eltham Cemetery on February 9th. Fred died 31 July 1997 at age 86 and was also interred at Eltham Cemetery. A memorial plaque to Gwenda, Fred and Geoff lies within the lawn cemetery at Eltham Cemetery. In February 2022 Gwenda’s book of Poems along with a copy of her letter of resignation from the State Bank of Victoria and a news clipping about the Autumn Show held in the Public Hall at Eltham (opposite her home with Fred) in which Gwenda is listed as having entered Cream Puffs and a Swiss Roll into the Cooking section, were donated to the St Vincent’s de Paul Society in Bega, N.S.W.. A dedicated volunteer there researched their origins and desirous for these items to return ‘home’, posted them to the Eltham District Historical Society for which we are most appreciative. EIGHTEEN YEARS TO-DAY “Tell me why you’re dreaming, Daddy” Said my little son to me, So, I told him all about it, As he sat upon my knee. I told him of that Sunday morn, ‘Twas eighteen years to-day, When the men of Australasia, Joined the mighty fray. How they landed on that foreign shore, And fought the gallant fight, Of how they nobly won the day, And put the Turks to flight. We saw the cliffs before us, To be scaled ‘mid shot and shell, And our comrades fell around us - - - - I remember it - - - so well. There are some who’ll sleep forever, On a hill that’s called Lone Pine, And the twenty-fifth of April, Is famous for all time. And so to keep their memory green, We march each Anzac Day, To pay tribute to those Heroes, Who gave their lives that day. - Anzac Day 1933 And in reflections to Gwenda’s childhood home in Arthur Street: HOME Where do my thoughts ever wander? Where do my thoughts always roam? To a little old house, on the top of a hill, To the place, that I call “Home Sweet Home.” No matter where-ever I travel, On land, or away on the foam. My thoughts will return, and my heart ever yearn, To the place, that I call “Home Sweet Home”. - 2/7/1933 Sources: Book of Poems, G. Davies Letter of Resignation, 1937, Oct. 20, G.G.W. Davies Births Deaths and Marriages Victoria New House at Eltham (1937, September 10). Advertiser (Hurstbridge, Vic. : 1922 – 1939), p. 6. Retrieved May 12, 2022, from http://nla.gov.au/nla.news-article56845735 Family Notices (1937, December 17). Advertiser (Hurstbridge, Vic. : 1922 – 1939), p. 3. Retrieved May 12, 2022, from http://nla.gov.au/nla.news-article56846386 Geoff Jones, Proud Memory, unknown newspaper clipping, 1979 1979 Birthday Honours, Wikipedia, https://en.wikipedia.org/wiki/1979_Birthday_Honours Australian Electoral Rolls, Ancestry.com Family Trees, Ancestry.com Eltham Cemetery, Deceased Search findagrave.com Personal recollections, Joan Castledine The poetry by Gwendoline Davies provides an insight into life growing up in Eltham and the early 1930s. A long time resident, Gwendoline, her husband Fred Jones and son Geoff Jones were fully dedicated to the Eltham community for over 50 years.1. Brown leather bound three-ring binder with personalised gold embossing on the cover 20.5 x 14.5 cm, Walkers Loose Leaf Book, pages typed with some pasted in colour illustrations, alphabeticised dividers (some tabs missing), 21 leafs (some blank) 2. Two paper booklets held together by pink ribbon 15.5 x 12 cm, typed, some with colour illustrations, pages numbered (rh only) 12 pages and 25 pages and paper cover 3. Newspaper clipping 4. Letter sized hand written page in ink folded in three and damaged by foxing and insectsanzac day, arthur street, napoleon street, cfa, eltham cemetery, eltham cemetery trust, frederick geoffrey jones, geoffrey morris jones b.e.m., grace davies (nee hayes), gwendoline grace watson jones (nee davies), llangollen, lower yarra group, poems, william watson davies

TROVE : Cairns Post (Qld. : 1909 - 1954) Wednesday 28 October 1925 p 4 Article Lotol for Australians. The Mercury Chemical Co. Pty. Ltd. manufacturers of Lotol which is keeping so many Australian homes free of insects, advertised on Monday and Tuesday, that they would present £1 to the sender of the first letter opened at 4 p.m. on Tuesday containing the correct solution of certain jumbled words.The correct solution was "Sydney Australia," therefore Lotol is made in Australia for Australians, ' and the £1 offered has been won by Lucy Wilesmith, McLeod-street , Cairns. Mr. L. A. Drewe is the Queensland representative of the manufacturers, and conducted this competition on their behalf.Round clear amber glass bottle for screw top. Embossed text near neck, diamond pattern on side with text near heel of bottle.Near neck ' POISON', 'NOT TO BE TAKEN'. Panel of diamond pattern below text. Near heel at base 'THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF MERCURY CHEMICAL CO. PTY LTD'. On base ' A G M ', '1', 'S100'.amber glass, chemical, poison, vermicide, australian made

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird