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Churchill Island Heritage Farm
Tool - Hand drill, c1960s
This hand drill was colloquially called an ‘egg beater drill’ due to its method of operation, and was aesthetically similar in appearance to the ‘breast drill’, with the former having a rounded handle instead of a concave bracing surface. Originally designed for drilling into metal, its gears allowed for higher rotation speeds and finer accuracy. This drill was probably manufactured in the 1960s by German company BECON. Distributed in Australia by Beck & Coram, it was widely used and easily accessible.Hand drill with red wheel, dark red paint remnants on handleBECON D129hand drill, hand tools, wood working tools, churchill island -
Kiewa Valley Historical Society
Jacket - SECV
Dark green 100% cotton drill jacket size 102R-40 with collar. Long sleeves with button at wrist, full length zipper, two breast pockets. Orange SEC logo stitched on top left front. Adjustable waist. Jones workwear label with washing instructions.Made in Australiasecv, uniform, jacket -
National Vietnam Veterans Museum (NVVM)
Clothing, Coolie (Asian) shirt
Black cotton long sleeved Asian style shirt. Three pockets on the front. Fabric badge top lefthand shoulder, with dragon insignia and green background, white trim. Name tag 'Chadwick'. AATTV fabric badge above pocket. Vietnamese fabric badge on left breast pocket.coolie shirt, aattv, 'chadwick', australian army training team vietnam (aattv) -
Flagstaff Hill Maritime Museum and Village
Uniform - Sailor's Shirt, 1920's
This sailor's white linen shirt or top was acquired by Dr Angus when working as a Ship's Surgeon on S.S. 'Larg's Bay' returning from the U.K. in 1928 after studies. It was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” which includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s SS Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being a historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and ocular surgery. Sailor’s shirt (or top); white linen 1920s-era shirt with a square collar at the back. The neck slit has eyelets with lacing threaded across. Pocket inside on left breast. Hem has four eyelet holes, two at the front, and two at the back. It is part of the W.R. Angus CollectionMaker's tag "MADE BY / - - - - JONES / S - - - - E -", size tag "2.", hand written "LOGAN". flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sailor’s shirt, sailor’s top, sailor’s uniform, uniform, w r angus, largs bay, 1928, 1920s, ship’s doctor -
Bendigo Military Museum
Uniform - SHIRT, ARMY, C.G.C.F. Made in Australia, 1969
Part of the "Kevin John Herdman", No 397661, collection. See catalogue No. 5942P for details of his service.Jungle green coloured long sleeved, Australian Army cotton shirt. Two button down epaulettes and two button down breast pockets. Seven button front. Button down cuffs. White manufacturers label sewn onto collar. Khaki label underneath white label.On white manufacturers label: M603197, DKT 33691, F/N 13109. SIZE - 15 1/2 x 33, SHIRT MANS S/58, GREEN, ARMY, V3. On Khaki label: C.G.C.F., Victoria, 1969 (upwards arrow ^). SIZE 15 1/2 x 33, 8505, 66. 011.9883, ARMY NO., NAME.shirt, uniform, army, kevin john herdman -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: SCOUT SHIRT
Khaki coloured boy's scout shirt. Front opening. Plackett from front edges continued to shoulders, four X 1.5 cm buttons. No collar.Short sleeves. 10 cm X 4.5 cm epaulettes on each shoulder. Breast pockets on each side with a button fastened flap. -
Bendigo Historical Society Inc.
Photograph - VAL CAMPBELL COLLECTION: PHOTOGRAPH OF BARBARA ASHER, 1957-59
Black and white photo of Barbara Asher. There is a seated person behind her and a drum on the stage. The photo has damage top centre. Written on front of photo: Womens 110 Breast 1st Vic Countries 1st. 1957-59 Barbara Asher. Written on the back of photo: Swimming Champrecreations, sports, swimming -
Federation University Historical Collection
Costume, Professional, Ballarat College of Advanced Education Nurses Uniform, 1980s
This uniform would have been worn by the students of the Ballarat College of Advanced Education, School of Nursing. The colour of the uniform was changed at the request of trained staff in white.This apricot princess style dress with a central front zipper and side pockets has a collar and short sleeves. The back has a yoke with side pleats and a half belt between the seams. There is machine embroidery on the collar and sleeves. There is a blue logo printed on the left breast. Original sales tag attaches to sleevePrinted in blue - Ballarat C.A.E. Nursingnursing, university of ballarat, ballarat college of advanced education nursing, nurse uniform, textiles, costume, apron -
Bendigo Military Museum
Uniform - BATTLE DRESS, ARMY, Commonwealth Government Clothing Factory, 5) 1969. .1) + .2) 1958
A.R. THOMAS 3798215.1) Jacket- woollen, khaki, waist length, two breast pockets, black lanyard, epaulettes, army insignia .2) Pants- woollen, khaki, braces, ribbon, brown. .3) Belt- Black plastic on webbing, metal clasps .4) Tie- cotton, khaki .5) Pants- cotton khaki “ROYAL AUSTRALIAN REGIMENT”army uniform, battledress army -
Flagstaff Hill Maritime Museum and Village
Decorative object - Peacock, Minton Majolica life-size model, Paul Comolera, artist, Designed: c. 1873; Made: c. 1875
This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire -
Bendigo Military Museum
Uniform - BATTLE DRESS, ARMY, 10 and .2) Keith Courtenay Pty Ltd .3) Herbert Johnson for Chorleys, 1) and .2) 1972-1973
Part of the Kevin John Herdman No. 397661 Collection. See Catalogue No. 5942P for details of his service record..1) Khaki battle dress jacket with button front and attached belt and buckle. Royal Australian Corps of Transport badges on each shoulder. Major's Crown on each epaulette. Red and blue lanyard threaded through left epaulette and secured in left breast pocket. Two button-down breast pockets. Buttons are khaki bakelite. .2) Pair khaki trousers with pleated front and zippered fly. Two side pockets and button-down hip pocket. Fob pocket and six belt loops. Buttons are khaki bakelite. .3) Khaki peaked cap with brown leather band. RACT badge on front of cap. Brown sweat band and clear plastic lining..1) and .2) On manufacturer's label: ' KEITH COURTENAY PTY LTD, VICTORIA, 1972-1973, 9upwards arrow), NAME: CAPT HERDMAN. K.' .3) On label inside cap: 'HERBERT JOHNSON, 13 OLD BURLINGTON ST, LONDON, W1, FOR CHORLEYS, CANBERRA'.royal australian corps of transport, kevin john herdman, uniform -
Bendigo Military Museum
Uniform - UNIFORM, RAAF, 3) Trent Nathan
RAAF uniform worn by Squadron Leader Ian A. 'Joe' Lyons, Operations Officer for No. 77 Squadron. Part of the Ian A. 'Joe' Lyons MBE Collection. See Catalogue No. 5374P for details of his service record..1) RAAF uniform jacket, dark blue in colour. Black fabric inner lining. Gold coloured buttons. Coat has two button down breast pockets and two button-down side pockets. Dark blue fabric belt with metal buckle is threaded through two belt loops. Three rows of service ribbons including an MBE ribbon and pilot officer's wings on left hand breast. Rank insignia on the bottom of each sleeve. .2) Dark blue fabric trousers with two side pockets, belt loops and button fly. Buttons for braces on the inner waist band. .3) Dark blue fabric tie. Manufacturer's label on keeper loop..1) On label sewn into neck: 'M TX'. .2) On label sewn onto inside waist band: ' M TX'. .3) On keeper: Trent Nathan'.uniform, raaf, ian a. 'joe' lyons -
Brighton Historical Society
Outfit, Three-piece woman's outfit, 1960s
This outfit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.Three-piece woman's outfit comprising double-breasted cape, cropped sleeveless top and skirt; cream wool woven with silver lurex. Top is decorated with a centre front fabric bow and is decoarated with fake pearls. All items lined with cream polyester. .1 - cape .2 - top .3 - skirtLabel printed black on white acetate, centre back cape, top and skirt: DESIGNED AND HANDWOVEN / BY / Robert Maltuswoman's suit, chevy chase, overend family, 1960s fashion, robert maltus, bernice overend, melbourne designers -
Bendigo Historical Society Inc.
Photograph - BASIL MILLER COLLECTION: NUMBER 19 TRAM, DRIVER AND SENIOR OFFICIALS
Black and white photograph of Number 19 tram, Conductor standing on tram, driver is on extreme right. Four others appear to be Senior Tramways Officials, note double breasted jackets, tram is destined for Golden Square. On front bottom right corner signed 'P.Basil Miller' 284 King Street Bendigo.Percy Pinderperson, individual, basil miller -
The Beechworth Burke Museum
Animal specimen - Common Buzzard, Trustees of the Australian Museum, 1860-1880
The Common Buzzard is part of the buteo genus (Latin for buzzard or hawk) which indicates it is part of the raptor group whose features include a medium to large build, a strong body and larger wings. The family includes birds of prey such as hawks and buzzards. Like their name suggests, Common Buzzards are very ‘common’ in the UK but can also be found in other parts of Europe, Africa and Asia. The birds’ habitat consists of woodland, shrubland, forest, wetlands and countryside, and they can live in cold, tropical and temperate climate zones. Similar to other raptor species, Common Buzzards make their nests in tree branches or tree forks. With finely tuned hearing, they are able to detect small marsupials, and their diet consists of small amphibians, birds and mammals. Normally solitary, these raptors can occasionally be seen with others. Common Buzzards are classified as of ‘Least Concern’ on the IUCN Red List. While there is some noticeable fading of this particular taxidermy specimen’s plumage, it is relatively well presented. The completely black eyes and string through the nose of the specimen seem to be taxidermy/curatorial choices, as this is not something that is normally found on living versions today, and the eyes of Common Buzzards are normally golden eyes with black pupils. It is interesting to note, when considering the selected artificial eyes, that the original swing tag labeled this specimen as Saleo tinnunculus Lina, a form of kestrel (known to have complete black eyes), which perhaps explains this taxidermist choice. As a Common Buzzard, this particular specimen could have had its frame and breast area bulked out a little more, as birds within the buteo genus are generally recognised to be of medium to large build. Overall however, this is a fairly reasonable and accurate representation of the species. 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.With similar colourings and features to a range of raptor species, the Common Buzzard can often be mistaken for other varieties of buteo and raptor. The bird’s plumage generally varies by location, but normally includes a variety of shades of brown, commonly with darker brown on its back and lighter coloured feathers on its breast, underbelly areas and face. These birds normally have fine bands on their tail and darker tipped wings. Common Buzzards have smaller heads with a band of yellow around the base of their small curved beaks and golden yellow eyes. This particular specimen’s feathers have faded and he stands upon a wooden perch with an identifying tag hanging from its right leg.Swing Tag: Swing tag obverse seems to read: ‘…io [? First few symbols aren’t clear]/ Saleo /tinnunculus/ Lina [there is also another illegible symbol on the tag in the centre on the second line] Swing tag reverse: illegible sections of text and the beginning of a number ‘403…[?]. Metal tag: 1032[?]taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, common buzzard, buteo, hawks, raptors, birds of prey, buzzards -
Blackburn Cricket Club
Young Women of Blackburn Cricket Club support female cricket at the MCG, Milo girls from Blackburn CC
On 27 December 2011 the girls from Blackburn Milo in2 Cricket were selected to take the field in a girls only lunch time Milo cricket session on the second day of the Boxing Day Test at the MCG. The Girls were presented with pink tops in keeping with the Jane McGrath breast cancer awareness campaign. -
Bendigo Military Museum
Uniform - TUNIC, RAAF, c.1939 - 1945
Item issued to Geoffrey Wilkin NEVILLE No 438263 RAAF. Rank, Flying Officer. Enlisted 10.9.1943 aged 18 years. Discharged 6.3.1946, posting at discharge, 460 SQD RAAF. Neville was posted to 460 Sqd 22.7.1945 to 6.10.1945, his Sqd during operations over Europe is unknown at this time.RAAF uniform tunic. Dark blue with waist belt. Over left hand breast pocket a woven patch with the letter N (Navigator) & one wing to the side. Under are x 3 service stripes sewn on - 1939-45 Star, France & Germany Star, Defence Medal, on sleeves are metal crown and wings.uniforms airforce, raaf -
The Beechworth Burke Museum
Animal specimen - Barking Owl (Female), Trustees of the Australian Museum, 1860-1880
Barking Owls are a nocturnal, medium sized bird of prey native to Australia, parts of Papua New Guinea, and the Moluccas. Average size ranges between 390-440mm in length. Females are generally slightly smaller than males and they are only one of a small number of owl species that do not exhibit marked sexual dimorphism. Barking Owls have characteristic vocalisations, ranging from a 'woof woof' barking dog sound, to shrill, human-like screams, which reportedly alarmed early European settlers to Australia. The Barking Owl's shrill and explosive vocalisation is sometimes associated with Bunyip mythology or referred to as 'the screaming woman call'. The female call is slightly higher in pitch than the male, and males and females often duet, contrasting low and high pitches. Barking Owls may be vulnerable in some parts of Australia due to woodland habitat loss. 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 Barking Owl is of an average size. It has brown, grey and white spots and vertical streaks. The face and breast are lighter in colour than the wings and the dorsal plumage. The glass eyes are large and dark in colour while the tarsi and toes are yellowish. This specimen stands on a wooden perch with identification tags attached to its leg. [torn] / 16. / Winking Owl / See catalogue Page, 4 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, barking owls, screaming woman call, yowing, woodland birds, birds of prey, australian owls, endangered, loss of habitat, woodland habitat, bunyip, australian early settler mythology -
Stawell Historical Society Inc
Photograph, Mr Thomas Kinsella and his dog outside his home in Patrick Street Stawell
Portrait - Thomas Kinsella c1895 part shareholder Moonlight and Magdala Mine. Half shareholder Magdala cum Moonlight MineCopy of original photo held by family. Mr. Thomas Kinsella seated wearing bowler hat and double breasted jacket over white shirt and tie lighter trousers. Seated in cushioned chair. Black curly haired dog on bent wood chair. Both in front of ivy terrace , showing part of house.stawell -
National Vietnam Veterans Museum (NVVM)
Uniform - Uniform, US Army
Bottle Greeg US Army Service dress jacket wioth cloth badge of USA Armour Centre on upper left sleeve. Two red medal ribbons above left breast pocket. gold bomb insignia on lapels with gold US badge on collar. gold retangles on epaulettesName of Tschappat is on the name tag.USA Armor Centre. 8405 99 1615. AG-344. Class 3. Coat Mans olyester/wool tropical.uniform, united states. army -
Bendigo Historical Society Inc.
Clothing - ALLAN MONAGHAN COLLECTION: TOKYO OLYMPIC BLAZER-1964
Clothing. Royal blue, single breasted blazer, with revere collar and three brass button front fastening. These three buttons and two smaller buttons on the sleeve cuffs, have the round sun symbol of Japan, and the Olympic Rings impressed into them. The breast pocket, with rounded lower corners has a cloth badge, 9.5 cm long X 6.5 cm wide, which is embroidered with a 5 cm diameter ball (of the sun) and five Olympic Rings in navy blue embroidery. One 20 cm long vent in lower centre back seam. Padded shoulders. Fully lined sleeves and front, while back is only lined across the shoulders. One inside pocket on each side front, has a button closure. Two pockets-22 cm long X 17 cm wide on either side of front, at lower edge. Single breasted. One small 1.4 cm diameter button, badge or Olympic pic, pin fallen from a blazer pocket. The button badge has a bronze like appearance, with impressed Japanese type characters on the surface. A pin type clasp at rear, thought to be a metal badge.All on inside of garment,right hand front. Toray® Toray Rayon Co. Ltd.Toray TETORON ® Riverloft ® Yarn Tailored by Mitsukoshi, Tokyo 1964. O Gold symbol Japan Olympic Rings 1964. Button have on underside: Tokyo 1964.costume, male, tokyo olympic blazer 1964 -
Ballarat Clarendon College
Uniform, Football jersey, 1935 (estimated)
This football jersey was worm by R. A. Slocombe while a member of the 1st XVIII in 1935. Mr Slocombe was in year 11 at the time. The item was badly damaged while in storage during World War 2. It is the only example of 1930's sport attire held by the schoolThe jersey has social significance because it exemplifies uniform requirements and manufacture during the 1930's. A black sleeveless, knitted, woollen football jersey with red collar. It has an 11cm wide red band on waist and a thin gold line 4cm above the hemline. There is a cotton bound neck opening with 3 buttonholes on left side of garment (buttons missing). The College insignia has been roughly appliqued at left breast. football, football jersey, sport uniform, 1936, r a slocombe -
Bendigo Military Museum
Uniform - COATS, RAAF, Approx 1942 - 43
Items relate to Reginald Charles ALLARDICE No 418577 RAAF. Refer cat No 3627.5 for his service history.(.1) Coat RAAF, dark blue with belt, 2 breast pockets, 2 waist pockets, “Australia” shoulder patches, RAAF wings, ribbon set with 1939 - 45 Star, Atlantic Star, Defence medal, sleeves have a metal crown and wings. (.2) Same as (.1) except the Atlantic Star has a rosette.raaf, ribbons, rank -
Hume City Civic Collection
Photograph, 1952
According to information on the back of the photo, it was published in the Sunbury News to highlight then Back to Sunbury celebrations in 1952.A black and white photograph of the head and shoulders of three men. Two are dressed in evening suits and the third person is in a double breasted lounge suit for the "Back to Sunbury" celebrations. The men are identified from L-R as John Forbes, a Shire Officer, Eric Boardman, Owner of the Sunbury News, and Mr. Digman, Assistant Post Master.festivals and celebrations, forbes, john, boardman, eric, digman, - (mr), newspapers, back to sunbury, sunbury news, post offices, shire officers, postal workers, 1950s, george evans collection -
Federation University Historical Collection
Costume, Professional, Nurse uniform and apron, 1980s
This uniform was made for the students of the Ballarat College of Advanced Education, School of Nursing. It was probably used in about 1986, then put on display in the School of Nursing until 2005..1) White princess style uniform with central front zipper and set in side pockets. It has machine embroidery around the collar and short sleeves. It has a back yoke with side pleats. .2) The apron is junior navy in colour with green binding and an orange emblem on the front left breast. It has a full back and front with ties at the side. Apron is printed in orange with - Ballarat C.A.E. Nursingnursing, ballarat college of advanced education, school of nursing, student nurse uniform, nurse uniform, nurse apron, apron, costume, textiles -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Cotton Blouse, Wendy Powitt, c. 1992
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.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform -
Uniting Church Archives - Synod of Victoria
Uniform - Jacket, Australian Military Chaplain, c1942
This military jacket is an Australian military Chaplain's jacket. It has three 'pips' on the epaulets. The four-sided "star" or "pip" has been used to designate officer rank in the British and Australian armies for many years and is a stylized version of the very elaborate star of the Knight Grand Cross of the military division of the Most Honourable Order of the Bath, one of Great Britain's four senior orders of knighthood. The original badge contains the motto "Tria Juncta in Uno", which means "Three Joined in One", and refers to the union of the three kingdoms of the British Isles (England/Wales, Scotland and Ireland). https://corregidor.org/acgq/web_redirect_3628.3645.8883/forum_pages/omh_1104.htmlBlack wool belted jacket with four Australian Military Forces brass buttons and pleated breast pockets and front pockets. The jacket has epaulets with three pips, or rank insignia, and an Australian Military Forces button. The belt has a brass buckle and has leather tabs at the back which are buttoned to a fabric carrier to keep the belt in place. -
Bendigo Military Museum
Uniform - JACKET, WINTER CEREMONIAL, RAN, cWW2 - Korea
Service history - Cat No.5743.2.Jacket - black colour wool twill with cotton sateen lining. Double breasted with gold painted metal buttons with shank. Service Ribbons for WW2, Korea, Long Service. On lapels - embroidered crown, aeroplane and Letter "H". On sleeves - 3 gold buttons - denotes Senior Sailor rank NCO. Buttons - with Crown, Anchor and "AUSTRALIA".TWO DRY CLEANING LABELS PINNED INSIDE LEFT SLEEVE - paper, illegible writing.uniforms, ran, ww2, korea -
Bendigo Military Museum
Uniform - BATTLE DRESS, WINTER, ARMY, 1967
Refer to Cat 58251. Jacket - Thick woollen material - brown khaki colour, two breast pockets, held shut with a button on each. It has epaulettes and long sleeves, on the shoulders are red curved, sewn on, badges "Royal Australian Infantry". 2. Trousers - thick woollen material -brown khaki colour. Button fly. 3. Grey cord lanyard. Inside jacket is label 3795952, Patterson written in blue ink.winter uniform, vietnam war, army -
Beechworth RSL Sub-Branch
Jacket battle dress, 1977
standard style of a jacket battle dress from the late 1940s to 1982; it was used for parade dress; this jacket was worn by a warrant officer class 2 of the Royal Australian Electrical and Mechanical Engineers.This jacket has historical significance because it representative of a standard style service battle dress worn by soldiers of the Australian Army Post WW2 until the introduction of the modern polyester cotton uniforms. It is also in excellent condition, which is special considering it's age. Waist length jacket, with two breast pockets either side, collar, olive green, two shoulder patches on both side ones says “Royal Australian Electrical & Mechanical engineers” in Bright yellow/gold writing on a in navy blue shoulder patch; a ranking insignia of Warrant Officer class 2 above the cuff of both sleeves Label located inside the jacket on the right hand side it says “A.G.C.F. VIC 1977 8405.66.025.6423 Size of chest: Size. 109/112PR. Yarra Falls. Batch 21657. Dry clean only Crease upper half of labels only.jacket, jacket battle dress, jacket khaki