Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

William Brian (Badger) BATES (1947- ) Born Wilcannia Barkantji Badger Bates is a Barkantji Elder, political activist and contemporary artist. Known primarily for printmaking, wood and stone carving, his work is intrinsically linked to his lifelong fight for the safety and health of the Barka (the Darling River).'Gitji Woman' is carved from a very old piece of log found at Wittabrinna Creek near Tibooburra, Western New South Wales. The tree was dead for 60-80 years, and was hollow inside. "I could see a figure in the wood so I folowed the shapes already three. The woman has a drawn out figure with long fingers and is coming out of the log, she is an ancestral spirit. I put the pink cockatoo and emu feathers in the leg in the way people used to decorate themselves for corroborees."badger bates, paakantyi, wilcannia, timber, aboriginal, barkantji

Painted by Eliza Jane Quayle, mother of Gwen Sebire. Put back where it always was in Mind De Lancey.Oil painting of cottage on wood with gold painted frame. Hand-made frame has floral pattern carved on front edge. oil paintings

"Today the Chalet lounges and hallways are stocked with a number of disparate furnishings of unknown provenance - table and chair settings... many ranging in styles from Edwardian and Art Deco periods. While they may appear to be original to the rooms, the items are not evident in any of the historic photographs surveyed in the course of this report, so their historical association with the Chalet does not appear to be strong and enduring. Some, including the Art Deco dining table and chairs in the Music Room ( MBC0038.2) ... appear to be domestic furnishings rather than those of a 'resort house'. Two blonde wood chairs with brown leather seats. Carved floral design at back, top of chairs.

Bluthner piano dated 1889 (patent no. 32310). PWD engraved imprint to wood. "The Bluthner grand piano came second-hand to the Chalet in 1920 when it was obtained by lessee, Hilda Samsing. This high quality German piano, which stands out as an item of individual significance, is now one of the oldest furnishings in the Chalet. When it was acquired in 1920, the Chalet already had a Beale brand upright piano which had been at the Chalet from the earliest days." (Pg. 77 Historica. 2011) 'A photograph taken of the Music Room (also known as the Drawing Room) between 1920 and 1924, when Hilda Samsing was lessee is one of the earliest known photographs of the Chalet's lounge areas. Published in the undated promotional booklet, Victoria's Wonderland Mount Buffalo, it shows 'A corner of the music room'... On the right, is the Chalet's second piano, which was purchased second-hand in 1920 from Gardner & Lang in Swanston Street, Melbourne. This impressive grand piano of walnut wood still stands in the Chalets Music Room. It was made in the world-famous factory of Julius Bluthner, in Leipzig, Germany, which has made Bluthner pianos since 1853 for numerous royals, composers, conductors, artists, authors and performers including Brahms, Mahler, Bartok, Debussy, Wagner, Strauss, Tchaikovsky and Rachmaninoff. The present stool is not part of the ensemble." ( Pg. 42. Historica )Listed in Draft Inventory of Significant Collection Items. Appendix A.1. Furnishings, Lounges and Hallways (Pg 163. Historica"Bluthner" grand piano made from walnut wood with accomanying wooden stool.(not matching). Piano features three large turned and carved legs on brass castors. Pedals on piano are solid brass, surrounded by carved and turned wooden pedal stand. Stool seat slants towards piano and two plain stretchers support four curved legs. Has 'PWD' stamped on it. PWD engraved imprint to wood.

Miniature wood cricket bat and stumps, carved from an original cricket stumpJ.F. Scott Trophy for Inter-house Cricket

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

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

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

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

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

This cabinet is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Hilda Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable. it was a wedding gift to Mr Franz Streizel's daughter Frieda Streizel approximately 1910. A heavily inlaid veneer two door cabinet with carved Egyptian style heads in the middle of each door set in a triangular pattern. There are two small drawers and one long drawer at the bottom of the cabinet. Keys are kept nearby in a wooden box in the same collection.cabinets, furniture, storage and display furnirure

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

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

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

Hand carved by pocket knife by Mr. Ott of Wandin and presented to Mr. Coghlan - Station Master on his transfer from Wandin in 1914.Hand carved with pocket knife, made from wood.walking-sticks

Walter Hagen (1892-1969) was a professional golfer who won 11 majors. He designed golf clubs for Wilson.Metal shaft and wooden head, rubber grip.Carved on base of head: "Walter Hagen WH 3"heidelberg golf club, golf clubs, woods, golf professionals, walter hagen

Walter Hagen (1892-1969) was a professional golfer who won 11 majors. He designed golf clubs for Wilson.Metal shaft and wooden head, rubber grip.Carved on base of head: "Walter Hagen 4"heidelberg golf club, golf clubs, woods, golf professionals, walter hagen

The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block made from laminated sections of wood painted black. A half-cylinder shape was carved into the long side, and a dowel shape was placed at the lower side. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

The wooden patterns are part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; a pair of blocks that form a rectangle with a carved centre hole and disc shape inside. The block is made from laminated pieces of wood with cut corners. Both sides have four drilled holes in a square configuration but in different positions. The cut faces and the space carved into them are painted red; one piece has two dowel pins that fit into two drilled holes on the other. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

Presented by the Victorian Tramway Football Association to Mr Norman Charles Boucher, Victorian Railways, Tramway Motorman for his long service to the Association. Dated 18 March 1947. Hand made with ink and water colours, with VFTA logo. Signed by C A Peterson as President, L Montgomery as Hon. Treasurer and R Hodder as Secretary. See item 7056i3.pdf for his story prepared by Noelle Jones. See item 7057 for a football team photograph which included Mr Boucher.Demonstrates a hand made illustrated Life Membership certificate.Wooden framed illustrated certificate glazed secured with nails on rear. Hand made with ink and colour wash. Has two screws in the top corners and a section of string for hanging. The wood frame is machined carved.sports, vfta, football, certificates, vr trams, motormen, n c boucher

Example of wood work and woodgraining popular in 1901 when the room was decorated. Mantel and mantel surround of pine turned and carved with this central panel beneath the mantel shelf all woodgrained in an oak finish.Fireplace surround featuring under-mantel panel with decorative carved acanthus leaves in urn with a rose at each extremity all in a woodgrain finish.woodgrain, decoration, mantel, oak finish, pine

The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines