(a) and (b) - A set of two ceramic wall tiles featuring historic buildings in the town of Heemstede in the province of North Holland. The images are in shades of blue. Tile (a) depicts the Dutch Reformed Church building (Netherlands Reformed Church). Tile (b) is an image of the Cruquius Museum on the site of a one-time pumping station.On the back of each tile are the words Mosa Royal Holland. Tile (a) also has the numbers 86 and 89 imprinted.

Framed oil painting titled: "Leongatha Landscape" painted by Harris Smith. Features scene of farming property in the foreground and township of Leongatha in the distance. Rolling hills, flora, buildings and sky. Gold decorative frame with cream textured vinyl window mount. Painted in shades of browns, greens, blues and yellows.

The geometric pattern mimic Ukrainian embroidery design,using straw marquetry technique (which is similar to that of wood marquetry). The wheat straw was soaked in different pigments to achieve the required shades,dried,split and ironed flat. Then cut into various sizes and shapes to create this pattern. The pieces where then glued onto a backing board.The backing board was then glued on the back of the photo album. This album was received as a birthday gift in early1960's.This form of straw art is very rarely seen today.Book is black.Back page is coloured straw design. photographsphoto, book, straw, ukrainian design, 1960, family dutka

This metal sphere is part of the wooden barque, the Grange, built in 1840. The sphere was recovered from the shipwreck of the Grange in around 1968, 110 years after the Grange was wrecked (see below for further details on the Grange). It is part of the John Chance Collection. THE GRANGE, 1840-1858- The wooden barque ’Grange’ was a three-masted ship built in Scotland in 1840 for international and coastal trade. On March 22, 1858, the Grange set sail from Melbourne under Captain A. Alexander, carrying a cargo of ballast. The barque had left the Heads of Phillip Bay and was heading west along the Victorian coast towards Cape Otway. The ship struck Little Haley’s Reef at Apollo Bay due to a navigational error and was stuck on the rocks. The crew left the ship carrying whatever they could onto the beach. Eventually, the remains of the hull, sails and fittings were salvaged before the wreck of the Grange broke up about a month later. About 110 years later, in 1968, the wreck of the Grange was found by divers from the Underwater Explorers Club of Victoria. They were amazed to find a unique, six to nine pound carronade (type of small cannon) and a cannonball on the site. There have been no other similar carronades recorded. In that same year the anchor of the Grange was recovered by diver John Chance and Mal Brown. The sphere is significant historically as an example of hardware used when building wooden ships in the early to mid-19th century. The sphere is historically significant as an example of the work and trade of blacksmith. The sphere also has significant as it was recovered by John Chance, a diver from the wreck of the Grange in the 1968. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The sphere is historically significant for its association with the 1840s wooden barque, the Grange. The Grange is an historical example of a Scottish built vessel used for international and coastal trader of both cargo and passengers in the mid-19th century. The Grange is an example of an early ship, designed with a wooden hull. It is significant as a ship still available to divers along the south coast of Victoria, for research and education purposes. The Grange is an example of a mid-19th century vessel that carried a weapon of defence onboard. Sphere; thin hollow copper, various shades of brown, dimpled or hammered surface with a sheen, no joins. Base has a small hole and is fitted with a hollow, cylindrical brass collar. The collar had a rim on top, inward curving sides and a narrower rim on the bottom. The sphere looks similar to a bed post knob.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, west coast trader, apollo bay, mid-19th century shipwreck, the grange, scottish barque, little henty reef, captain a alexander, underwater explorers club of victoria, 1840s carronade, vhr 5297, coastal trader, wooden shipwreck, john chance, wooden ship, ship fitting, sphere, knob, bed knob, post decoration

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the left side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles on the right side of the fireplace in the dining room at Villa Alba. The figurative tiles depict young girls surrounded by blossoms. These two figurative tiles are surrounded by rectangular plain majolica tiles in shades of maroon, blues and green. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

Maranui was Kelvin House before it became Maranui This is the before paired photograph used in the 150 year,Lakes Entrance 1858-2008 display.|The after paired photograph number 01217.1 Also one 12 x 16 framed photograph used in room displayBlack and white photograph of Hoopers Maranui Guest House. A timber double storied building, hip roof, sun shades over upper windows, seat on ground floor veranda, lattice fence, side view of Prince Regent theatre beside building. Water tank on stand. Lakes Entrance Victoriafences, guesthouses, architecture, room display

Letter, dated 17 October,1943 to Mr. F. Stevenson from ? Wallace, Engineer-in-charge at the Gunbower Co-operative Butter Factory and Trading Coy. Ltd. He mentions in the letter the amount of scale that has been dislodged in the boiler since the Scalebuoy was installed. Letter has printed letterhead in shades of brown.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, gunbower co-operative butter factory and trading coy ltd. f stevenson, wallace

Framed tapestry featuring a Chinese townscape with people celebrating in the streets. Embroidered predominately in bright shades of red, green, brown, blue and pink. Red card window mount, text panel lower edge and black wood frame. Presented to the South Gippsland Shire Council from the Jinshan District, China in 2002

Ludmilla Meilerts, Oil On Board, Botanical Gardens, Circa 1970 Ludmilla Meilerts (1908 - 1997), Botanical Gardens, Melbourne, an impressive work painted with bold brushstrokes and a vivid colourful palette which typifies the artists work. ​ Born in Riga,Latvia in 1908 - After displaying an early talent for art she studied at The Latvian Academy Of Fine Arts graduating in 1940. Later that year she married Otto Meilerts, an Economist, and they moved to Stuttgart, Germany to avoid living under Soviet occupation and then emigrated to Australia in 1948 settling in Melbourne. She worked as a nurse's aid and in a clothing factory to fund the further development of her artistic career achieving considerable early success with her colourful work encompassing portraiture, florals and city and landscapes. She particularly like painting dockland scenes. She was a member of The Victorian Artists Society (VAS) and The Melbourne Society Of Woman Painters And Sculptors. ​ Major prizes include The Dunlop Prize in 1952, Gosford Art prize 1971, Camberwell 1973, VAS Purstitz Gold Medal 1982. She is represented in The State Galleries of Victoria, NSW, Tasmania and Western Australia as well as several regional Galleries.​ ​Still life of fruit and a jog. Painted in thick impasto paint, creating a very textured surface. Fruit is depicted in green, brown, apricot, pink and red. Background is abstract. Upper left background is brown, upper centre and right background is in shades of grey, blue and green, with some white. Brown wooden frame.Front: L Meilerts 70 (lower right, black paint)still life, female artists, women, women artists

John Neeson is a Postwar & Contemporary painter who was born in 1948. Numerous key galleries and museums such as Hill Smith Gallery have featured John Neeson's work in the past.Abstract composition in two panels. Left panel shows areas of three shades of grey. Right panel shows areas of grey, red and yellow. The centre image connects both panels with a triangular shape with red patterning, giving an appearance of flame and embers. Mounted in grey matt. In grey wooden frame with glass.Front: 1/25 (lower left) 73 (centre) John Neeson (lower right) (pencil) Back: (no inscriptions)

Clothing. Black suede bracelet length gloves, embroidered with floral motifs in the Beauvais style of embroidery, and as stated inside the right glove, ''REAL BEAUVAIS POINT HAND MADE 927 6/14. Embroidery made with a hook. Fifteen tiny flowers in shades of blue, pink, red, green, are scattered across the top of the gloves.REAL BEAUVAIS POINT, HAND MADE 927 61/4 RIGHT GLOVE. MADE IN FRANCE 927,Left glove.costume accessories, female, bracelet length black suede gloves, beauvais is a french term for a form of tambour embroidery, which is decorative needlework technique using a hook.

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue enamel on metal membership medallion produced by the Kew Cricket Club for the year 1922-23 and which belonged to Francis Horace Rigg (1882-1946). The medallion in shield shape is enameled in shades of blue with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1922-1923kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue enamel on metal membership medallion produced by the Kew Cricket Club for the year 1923-24 and which belonged to Francis Horace Rigg (1882-1946). The medallion in shield shape is enameled in shades of blue with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1923-1924kew cricket club, membership medallions

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1928-29 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1928-29kew cricket club

Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg at the time of the Gallipoli & Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Blue and gilt enamel on metal membership medallion produced by the Kew Cricket Club for the year 1929-30 and which belonged to Francis Horace Rigg (1882-1946). The medallion is enameled in shades of blue and gold with the initials of the Club, KCC surrounded by the full name of the club and the period for which the member would gain access to games.Kew Cricket Club KCC 1929-1930kew cricket club, membership medallions

Sand goannas are the second largest species of carnivorous lizards found across mainland Australia. They can grow up to 160cm in length and can weigh as much as 6kg. Their common name is derived from "iguana", since early European bush settlers in Australia likened goannas to the South American lizards. Goannas retain special cultural and historic significance within Australian folklore and Indigenous culture. They were an important traditional native food source and are commonly represented in Aboriginal Dreamtime stories. In some Aboriginal languages, the sand goanna is called "bungarra"; a term also commonly used by non-Aboriginal people in Western Australia. In Pitjantjatjara and other central Australian languages, goannas are called "tingka". 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 and the National Museum of Victoria, as well as individuals such 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.Small goanna with a streamlined body and textured scaly skin in different shades of olive and brown. It has a long neck and a long tail which narrows towards the tip. The goanna has four short, stocky legs which meet with large, curled claws. Its mouth is slightly slightly open, and it has two black glass eyes.On tag: BMM / 5892 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, lizard, goanna, sand goanna, monitor lizard, various gouldii

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of coastline around Nuns Beach and Portland Lighthouse. The work takes the perspective of, sitting in a car parked on the cliff facing the lighthouse. The foreground features the cars steering wheel, dashboard and red bonnet. The majority of the work illustrates the cliffs in various shades of green and brown. In the top right is the Portland Lighthouse and the ocean and rocks below.Front: Terry Priestly 28/30 (lower right) (pencil) Back: 32

This dress is hand made possibly by a mother for her daughters. It is hand and machine stitched. This style of dress would have been worn for special occasions, eg going to church or special outings.This item is very significant for the following reasons. Historic and social - it shows what little girls wore during the early 1900's of the Kiewa Valley. It also shows fashion of the times and how these styles of dresses were made. All of which is valuable for research on these topics. There are only two of these dresses in the collection of the KVSH, and therefore would be very rare. The condition is good enough to display, therefore it has good interpretive capacity.Brown Cotton Dress. Top and sleeves are lined in calico. Home made, with manual machine stitches and some hand sewing. The dress has a high round neck and long sleeves. There is a band around the waist to which a gathered skirt it attached with hand stitching. Two different shades of brown are used on this dress. Back opens with 8 hooks. Water stains on dresschild, homemade, dress, girl, kiewa-valley

From Box Hill Historical SocietySmokingEmpty match box. Drawing of a stylised teacher on right hand side in shades of green red and black, with black board beside him. 'Brymay ' Redheads1/3 safety matches no. 15 Australian decimal currency.. system'. LSD shops will be those whose machines have not been converted. Average contents 50. Made in Australiapersonal effects, smoking accessories

Produced as one of a series of 24 prints commissioned by Nunawading & District Historical Society -|Theme: Intersections of Mitcham and Nunawading 2000/2001.|See also Series by P. Simmenauer on the same theme.Black and white photograph - print and negative of Entrance from Mitcham Road to Mitcham Bowls Club near Halliday Park. Note suspended metal light shades for night and evening games. (Built c. early 1960's on portion of Halliday Park previously occupied by Mitcham R.S.L. and Nunawading Youth Club cricket teams.mitcham bowling club, mitcham road, mitcham, halliday park

Account Ledger of Albert Boldt containing Financial statements, Diary notes and Copies of letters. First entry Oct 8, 1859. Last entry 1866/7. Book has brown cloth cover with dark brown spine and triangular corners. Blue, cream and two shades of brown marbling inside the front and back covers.bendigo, clubs, bendigo heritage, german heritage society collection - account ledger of albert boldt

Most of the ephemera assembled by Francis Rigg were patriotic buttons but also included come sporting event buttons including two associated with the East Kew Citizens Sports Carnival. The subdivision of the area now known as Kew East commenced before World War 1, but it was not until the 1920s that it became fully developed. At this time, there was a strong Progress Association and this body raised funds to purchase land and build the East Kew Citizen’s Hall in Normandy Road, the first stage of which was completed in 1922. This hall was designed to be extended, although this never occurred, and the building now forms part of the facilities of the East Kew Uniting Church. The ‘East Kew Citizens Sports Carnival’ may well have been a fundraiser event for the building fund. As far as is known, the carnival was only held for a couple of years.Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.A circular button produced for the East Kew Citizens Sports Carnival in 1922. The button has a ground of vertical stripes in shades of blue. The name of the event is within a white circular band. A white shield in the centre that includes the words “Admit” would indicate that the badge was purchased and worn on the day of the carnival to indicate that the wearer had paid the admission fee. "East Kew Citizens Sports Carnival, Admit 2nd December 1922"east kew, east kew citizens sports carnival, sports, badge, numismatics, francis rigg

Published in c1948 by Wightons Print, 215 Moreland Road, Coburg. These chapbooks were sold door to door after WWII by members of the Partially Blinded Soldiers Association in Victoria to fundraise for the association. The Association was established in 1924 to serve the interests and welfare of partially blinded returned soldiers. The author, George Robert Riley (late AIF and AMF) was born in Drouin in 1890; died in 1952. He trained as a compositor. Served in France and was partially blinded during WWI. He also enlisted during WW2 when he seems to have lowered his age. There do not appear to be many copies of this publication that have survived. It does not appear in either the State Library of Victoria or the National Library of Australia catalogue. The Museum of Victoria may have a copy. Apart from its significance as a fundraiser for returned soldiers, it documents culinary fashions in the post-WW2 period. Although a number of the recipes in Part 1 have exotic names, they are yet to be influenced by post-war migration to Australia.A 32 page booklet held by 2 metal staples. The paper is stained and embrittled but was probably originally cream. The cover depicts a soldier at rest under a palm tree dreaming of home and a hearty meal. Printed in shades of green and grey-black. This is Part One of Two. The chapbook contains 140 recipes, mostly broadly Anglo-European. Nilchapbooks, ww2, wightons print, mrs kate brennan, partially blind soldiers association, george robert riley

Wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. 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 and the National Museum of Victoria, as well as individuals such 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. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns

Account form from Hartleys Bendigo. Date line ends 193-. Printed in various shades of blue with red cash lines. Top of page has illustrated picture with the name of business and owner?, what they do in the shop and the address. On the left of the name is a man riding a bike and on the right is a man riding a motor cycle. Plain backing sheet behind the account.business, printers, cambridge press, cambridge press collection, bendigo radio house, hartleys bendigo, len shoosmith

Textiles. Diamond shaped pieces-five X 3.5 cm pieces of velvet, and mixed fabrics in shades and patterns of brown, cream, blue,russet and green. Crushed velvet backing in mid brown colour. Some evidence that the insert has been embroidered(Possibly a recycled cushion). Some diamond shapes are severely worn, while two are completely missing.textiles, domestic, velvet and mixed fabric cushion