Donated to the 8th/13th VMR Collection as part of a collection of regimental silver from the 20th Light Horse Regiment circa 1950. 20th Light Horse (Victorian Mounted Rifles) was raised following WWI as part of the 2nd Cavalry Brigade AMF. It had its HQ at Seymour and sub-units along the Goulburn Valley extending to Tocumwal in NSW. During WWII the regiment was motorised then served as infantry in Dutch New Guinea. It was the only light horse regiment to serve overseas in WWII.Is a representative example of a trophy from between the wars. The size, material and decoration show the relative affluence of the officers of a regiment from regional Victoria. The fact it carries no record of being awarded might indicate it dates from immediately prior to WWII when the regiment was mobilised and moved from its base area.Ornate silver cup with two handles intended for shooting competition in 20th Light Horse Regiment. There is no record of it being awarded."Field Firing Trophy / presented / by the Officers of the / 20th Australian Light Horse Regiment / Won by". Hallmarks on base and "8725 6PT"trophy, 20th light horse, cup

This uniform was worn by Lieutenant Colonel D J Hunter OAM RFD when serving with the 8th/13th Victorian Mounted Rifles. Lt Col Hunter joined 8/13 VMR from 20th National Service Training Battalion in 1956 and served with the regiment till 1967, and again 1977-1980. 8/13 VMR was raised as part of the Citizen Military Forces in May 1948 and was linked with 4th/19th Prince of Wales's Light Horse in October 1990 as part of an Army reorganisation.This uniform is well provenanced, complete and in good condition, and is representative of the uniform worn by an officer of the 8th/13th Victorian Mounted Rifles, a regiment with lineage dating from 1885, but no longer an active regiment in the Australian Army.Khaki wool fabric battledress style jacket with embroidered badges of rank and shoulder titles, yellow cord lanyard, and ribbon bar denoting Australian Active Service Medal, Vietnam Logistic and Support Medal, Australian Service Medal 1945-75, Reserve Forces Decoration and Commemoration of National Service Medal.victorian mounted rifles, uniform

This tunic was worn by Sir David Fairbairn KBE DFC when Honorary Colonel of 8th/13th Victorian Mounted Rifles Regiment 1981-83. Sir David served with 21st Light Horse prior to World War Two. During WWII he served with the Royal Australian Air Force flying Spitfires in Britain and Europe and later in the war, in the Pacific theatre. Following the war, he entered politics, holding the federal seat of Farrer from 1949-1975. He was Minister for Defence 1971-73. Sir David was Australian Ambassador to the Netherlands 1977-1980.This object is well provenanced, complete and representative uniform worn by an honorary colonel of the 8th/13th Victorian Mounted Rifles Regiment, a man who gave exemplary service as a serviceman, politician and diplomat.Service dress tunic, polyester summer, with yellow cord lanyard, officer badges of rank, 8/13 Victorian Mounted Rifles collar badges, silver Royal Australian Armoured Corps (RAAC) buttons, and pilot qualification badge (wings). Neck decoration Knight Commander of British Empire (KBE) (Civilian list) (replica); ribbon bar denoting: Order of the British Empire (Civil), Distinguished Flying Cross (DFC), 39-45 Star, Europe and Germany Star, Pacific Star, Defence Medal 1939-45, British War Medal 1939-45, Australian Service Medal 1939-45, Queen Elizabeth II Coronation Medal. uniform, fairbairn, vmr, raaf, honorary, ambassador, wwii, spitfire, world war two, parliament

This tunic and cap were worn by Major General H H (Tack) Hammer CBE DSO & Bar, ED when Honorary Colonel 8th/13th Victorian Mounted Rifles Regiment 1959-1960 Hammer had pre-WWII service with 8th Battalion and 17th Light Horse (Machine Gun) Regiment. He served with the 6th Division in North Africa and Greece before becoming Commanding Officer of 2nd/48th Battalion. On return from the Middle East, Hammer commanded the 15th Brigade throughout two years of fighting in New Guinea and Bougainville. After the war, Hammer became Commissioner for Repatriation in Victoria and continued his military career in the Citizens Military Forces, commanding the 2nd Armoured Brigade and later 3rd Division. Open-neck officer's 'Blues' tunic with gold braided general's epaulettes and Major General's embroidered badges of rank; gilt general's buttons; red and gold braided aiguillette and white gloves. Uniform worn by Major General H H (Tack) Hammer when appointed as Honorary colonel of 8th/13th Victorian Mounted Rifles. Medals awarded to Major General Hammer are Commander of the British Empire (CBE), Distinguished Service Order (DSO), Mentioned in Despatches (MID), 1939-45 Star, Africa Star, Pacific Star, Defence Medal 1939-45, British War Medal, Australian Service Medal 39-45, Queen Elizabeth Coronation Medal, Efficiency Decoration (ED). General's peak cap with gold bullion hat badge and double row of oak leaves on peak. Medals on display are replica.8/13 vmr, military, hammer, honorary, colonel, general, world war two, wwii, cmf

The Municipality of Kew (1860-1863), the Borough of Kew (1863-1910), the Town of Kew (1910-1921) and the City of Kew (1921-1994) were local government instrumentalities in the State of Victoria. In 1994, the City of Kew was amalgamated, together with the former Cities of Camberwell and Hawthorn, into the new City of Boroondara (1994- ). Like other local government entities of the period, Kew was administered by town clerks. The two notable town clerks in Kew's history were H. H. (Henry Hirst) Harrison (1868-1955) and W. D. (William Dickie) Birrell (1899-1974). Harrison was appointed to the position in 1901 and retired in 1938 after 37 years. Birrell, appointed Acting Town Clerk in 1921, became Town Clerk in 1938, following Harrison's retirement. He continued in this role until his retirement in 1966.This card is part of an historically significant civic collection, containing hundreds of separate invitations, documents, greeting cards, programmes and tickets issued and/or collected by successive town clerks. Items in the collection illuminate the political, social and cultural history of the district. As a continuous record, ranging across most decades of the Twentieth Century, they reveal changing tastes in design, values and relationships in the history of local government in Victoria.ON THE OCCASION OF THE CONFERRING OF THE / FREEDOM OF THE CITY OF MELBOURNE UPON HIS EXCELLENCY FIELD MARSHALL SIR WILLIAM SLIM / GCB, GCMG, GCVC, GBE, DSO, MC, KStJ, / GOVERNOR GENERAL OF THE COMMONWEALTH OF AUSTRALIA / THE RIGHT HONOURABLE THE LORD MAYOR / (CR F W THOMAS) / REQUESTS THE PLEASURE OF THE COMPANY OF / Councillor F E O'Brien / AT DINNER / AT THE TOWN HALL, MELBOURNE / ON SATURDAY, 8TH NOVEMBER, 1958, AT 6.45 FOR 7 PM / EVENING DRESS - DECORATIONS / THE FAVOUR IS REQUESTED OF A REPLY BY 23RD OCTOBER, TO THE ASSISTANT SECRETARY TO THE LORD MAYOR / ON RECEIPT OF ACCEPTANCE ENTREE CARD WILL BE SENTcivic invitations -- kew (vic), city of melbourne, field marshall slim.-- governor general of australia

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

Brown ceramic plate with black and white decorations. On reverse is painted 'Australian Open 2006' and 'Sample 1'. Materials: Ceramictennis

Warrant Officer Class One Ron Almond served on the 8/13 Victorian Mounted Rifles cadre staff before being posted as a member of the Australian Army Training Team Vietnam (AATTV) in 1969. There he was posted as adviser to 17th Armored Cavalry Squadron. He later returned to 8/13 VMR as Regimental Sergeant Major. The AATTV was a specialist unit of military advisors of the Australian Army that operated during the Vietnam War. Raised in 1962, the unit was formed solely for service as part of Australia's contribution to the war, providing training and assistance to South Vietnamese forces. Initially numbering only approximately 30 men, the size of the unit grew several times over the following years as the Australian commitment to South Vietnam gradually grew, with the unit's strength peaking at 227 in November 1970. Members of the team worked individually or in small groups, operating throughout the country from the far south to the Demilitarized Zone (DMZ) in the north. Later they were concentrated in Phước Tuy Province as Australian forces prepared to withdraw from Vietnam. It is believed to be the most decorated Australian unit to serve in Vietnam; its members received over 100 decorations, including four Victoria Crosses, during its existence. The unit was withdrawn from Vietnam on 18 December 1972 and was disbanded in Australia on 16 February 1973. A total of 1,009 men served with the unit over a period of ten years, consisting of 998 Australians and 11 New Zealanders. Representative of a connection between Australian Army Reserve and South Vietnam.Wooden shield with coloured plastic emblem mounted at centre and engraved metal plate below.Presented to / 8/13 VMR OR's Mess / By Ex RSM 8/13 VMR / WO1 Ronald M Almond / 17th Armoured Cavalry Sqn / Advisory team 116 / Republic of Vietnam / May 1969-May 1970military, cadre, aattv, vietnam, cavalry, armour, almond

This item forms part of the Golden Wattle Festival memorabilia collection held by the M.M.H.S.Yellow soft covered book, green gum leaf decoration on title. 24 pages. Details an event held in Maryborough during the Golden Wattle Festival.festival maryborough

The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Includes: index, bibliography. The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Front page: Sue Barnettarchitecture, (mr) peter cuffley, dwellings, interior decoration, 1940-1949, 1950-1959

A booklist on home restoration held in Camberwell City Libraries, covering the history of Australian houses, house restoration and conservation, the history and details of interior decoration, furniture and contents, the history of Australian gardens, and garden restoration and design.An A5 sized bookletbuildings, structures and establishments, restoration, conservation, garden restoration, garden design, interior decoration

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green vest with two pocket decorations on the lower front of the vest. Underneath the pocket is the Australian emblem, below which are the Olympic rings and the inscription "BARCELONA 1992."BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Masako was a visiting lecturer to the Gippsland Centre for Art and Design (GCAD) in 1981.Stoneware plate with blue brushwork. Fish decoration. masako, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, fish, visiting artist

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.Press moulded ceramic form, squarish top. Flat rim painted black with cream interior. Exterior decoration with 'spoked wheel shapes' predominantly cream and pink with yellow, brown, blue and green.art, artwork, ceramics, michelle giles, alumni, ceramic

Douglas ALEXANDER (1945-1981) Born Skipton, Victoria Doug Alexander studied Ceramics at the Ballarat School of Mines. In 1968 he was employed as a thrower and designer at Bendigo Pottery leaving that position to work and travel to New Zealand. He settled at Kerri Kerri, Bay of Islands in New Zealand and operated the Red Barn Pottery. In 1970 Doug Alexander returned to Australia establishing Spring Mount Pottery at Creswick where he used local clays to produce his work. He moved to Tharwa, ACT, in 1976 and established the Cappucumbalong Pottery. 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.Slab formed stoneware platter with impressed decoration finished with slips and oxide made at Spring Mount Pottery, Creswick.art, artwork, ceramics, alexander, doug alexander, red barn pottery, ballarat school of mines, ballarat technical art school, kerri kerri, spring mount pottery, creswick, cappucumbalong pottery, springmount pottery

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.Large wheel thrown terracotta bowl with abstract decoration including text and gold lustre glaze. art, artwork, vesna medavarsky, ceramic, terracotta, wheelthrown, oxides, gold luster, pottery, bowl, large bowl

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. In 1937 he was living at 302 Drummond Steet South, Ballarat. 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. Unframed pencil drawing of a plaster cast of a human figure known as the Dancing Faun, a marble sculpture first recorded in 1665, when Albert Rubens listed it as in the collection of the Grand Duke of Tuscany in Florence (probably long owned by the Medici). By 1688 the sculpture was held by the Uffizi in Florence. In September 1800 the sculpture was sent to Palermo along with other treasures to avoid plunder by the French army, but it was returned to the Florence in 1803. By the 18th Century the Dancing Faun gained a reputation as one of the finest ancient sculptures in existence. A faun makes music by simultaneously playing the ‘crotala’ (similar to cymbals) in his hands and the ‘scabellum’ or ‘croupezion’ under his right foot. In Victorian Education Department examinations, this sculpture was sometimes called the "Clapping Faun".Written on the mount board below the drawing "Drawing Human Figure from the Cast. for art Teacher's Certificate 1931 by Albert E. Williams. Tech. Art School, Ballarat."art, artwork, albert e. williams, williams, ballarat technical art school, art teacher's certificate, a.e. williams, alumni, drawing from the cast, drawing from the antique, drawing the himan figure from the cast, dancing faun

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.Small ceramic vessel with three monkeys exterior decoration. art, artwork, beatrix barnett, available, ceramics, tafe ceramics collection

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.White bowl with grey cracked decorationart, artwork, janet deboos, ceramics, available, janet de boos, available ceramics

This artwork was found among items associated with the Ballarat School of Mines. Although its purpose remains unknown, it was possibly painted by a staff member or student for use on Wattle Day. Wattle Day originated in October 1889 by the Wattle Blossom League, and was associated with the Australian Natives Association during the lead up to the Federation of Australian States. The first 'national' Wattle Day was celebrated on 1 September 1910. Early Wattle Days involved planting wattle trees in school grounds, street decorations of wattle blossom, and wearing sprigs of wattle. As public support for Wattle Day peaked, World War I broke out. Wattle took on a new significance during the war years, symbolising home for military personnel serving overseas. Beautifully designed Wattle Day badges, as well as wattle sprigs, were sold as a means of raising money for organisations such as the Red Cross. 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.The Australian coat of arms with wattle, painted onto canvas.art, artwork, emu, kangaroo, crest, advance australia, wattle day, wattle, coat of arms, patriotic, australian coar of arms, national symbol

Street view of 1 ceremony held at Mirridong. No individuals are identified, however decorations and the large crowd indicate that it could be the opening of the centre or later extensions.1 x Black and White photograph of crowd outside MirridongBendigo 5123association for the blind, mirridong home (bendigo)

Residents sit under sun umbrellas in the grounds of Mirridong. Date unknown, but possibly they are waiting for a parade as they face outwards, and flags of the world (with an Australian flag most predominant) are up as decorations on the building.1 x B/W photograph of Mirridong residentsassociation for the blind, mirridong home (bendigo)

This black wooden antique hinged book magnifier was typical of the elegant way that Victorian age designers combined both practicality and style into the salon. Folded down, this box would sit on a side table until required, whereupon it would expand to allow the user to read items in their hand. A platform designed to hold reading materials would be elevated into position, and the magnifier allowed for three different levels of height. On top of the magnifier are engraved decorations - one of a bow and the other of a globe, telescope and scroll.1 wooden box with fold out top and inset glass magnifier.assistive devices, equipment

Australian domestic architecture of the period between the two world wars is a fascinating and complex subject. Our preconceived notions are based on the more obvious styles and impressions, so that visions of bungalows set row upon row spring to mind quickly. Influences in the designs of Australian houses of the 1920s and 1930s were extraordinarily diverse. Apart from their obvious origins, they can be traced to India, Japan, Switzerland, Holland, Germany, Italy, Spain, Mexico and even the American backwoods. Australian architects travelled to England, Europe and North America bringing back ideas and influences.Includes: index, bibliography. Australian domestic architecture of the period between the two world wars is a fascinating and complex subject. Our preconceived notions are based on the more obvious styles and impressions, so that visions of bungalows set row upon row spring to mind quickly. Influences in the designs of Australian houses of the 1920s and 1930s were extraordinarily diverse. Apart from their obvious origins, they can be traced to India, Japan, Switzerland, Holland, Germany, Italy, Spain, Mexico and even the American backwoods. Australian architects travelled to England, Europe and North America bringing back ideas and influences.Front page: Sue Barnettarchitecture, (mr) peter cuffley, dwellings, interior decoration, 1919 - 1929, 1930 - 1939

Image taken by staff member of Christmas decorations facing Glenferrie road, including an oversized inflatable Santa, a smaller inflatable Santa with his reindeer and Christmas tree and a banner that reads "Merry Christmas from Vision Australia, home of Carols by Candlelight".vision australia, buildings

To celebrate Christmas and advertise Carols by Candlelight, the property team put up a number of external decorations on the Glenferrie Road side of the building at Kooyong.5 images of reindeer lights and banners displayed for Christmasvision australia, carols by candlelight

Professor Vernon PATRICK (1943- ) Born Havre, Montana, United States of America A lecturer at the Montana State University, Vernon Patrick was a visiting artist to the Gippsland Centre for Art and Design (GCAD).A stoneware platter with decoration featuring Ned Kelly in armour. vernon patrick, jan feder memorial ceramics collection, ceramics, gippsland campus, churchill

Five piece glazed, porcelain tea set including cup, saucer, sugar bowl, lid and milk jug. Wheel thrown with carved decorations depicting mythical figures similar to griffen.Signed bottom 'Christine Hare'.ceramic, tea set, porcelain, christine hare, alumni

Terracotta wheel thrown bowl with flat rim. Underglaze and glaze surface decoration in yellow and blue depicting three pairs of gekkos. Maker unknown.artwork, ceramics

Small glazed vase with pierced banksia decoration on sides.