A puttee is a cloth band that was wound round a soldier’s leg from their ankle to their knee. They were designed to provide support when walking and protect against harsh weather conditions. Many Australian soldiers developed a painful medical condition during their service on the Western Front called trench foot. The primary causes were wet feet and unsanitary conditions but puttees were also partly to blame as they limited circulation to the lower leg and foot. These puttees are a collectors item, they are the real thing, used in WW1 and made a short return in WW2 and were used as ceremonial dress in Malaysia in the 1960s, these ones are WW2 issue. Used as military dress in world war one, briefly in world war II and ceremonial dress in Malaysia in the 1960'sOlive green wrapping wool mix wrapping 106cm long and q2cm wide with tape 103 cm long 1.5 cm wideNilputtee, leggings world ww1 1 ww2 malaysia cloth bans

These items were in the Ballarat School of Mines Museum, and when the museum was closed they were saved from the tip, and returned decades later. The Alafolo or afui are anthropomorphic clubs found across the island of Malaita. As war clubs, blows were struck with the edges of the club, which varied in length from under three to four feet. At least some of these clubs served a largely ceremonial function, particularly those rare examples with shell inlay. Malaitans war clubs are usually made of tooa, a reddish hardwood. Most finished clubs are submerged in mud (saltwater or fresh) for about a month, during which time they acquire a glossy black finish.Two native weapons, probably South Pacific in origin. .1) light coloured timber paddle with carving. Possibly Solomon Islands. .2) A dark coloured Alafolo made with heavy ironwood, with geometric designs from the Solomon Islands with stylized face, carved geometric design at top end; two carved rings with geometric design between them toward bottom end.ballarat school of mines, ballarat school of mines museum, ethnographic, paddle, club, ethnographic material, new number, solomon island, alafolo, malaita, weapons, new guinea

This chain was part of the official regalia worn by the Mayor of the City of Sandringham before the amalgamation into Bayside City Council in 1994. The chain was seen as an outward sign of power, authority, and responsibility and was a formal, full-dress type of regalia that was worn by the mayor over their robes at ceremonial functions. The large central drop medallion features the design of the council sea, and the links of the chains are made of cutwork initials of each Mayor. The Sandringham seal was designed by Sans and McDougal had been selected in 1917, by a special committee and its main features are the Sandringham pier and breakwater, with a yacht in full sail as an inset, supported by two dolphins. The motto reads 'Omni Opere' which translates to ‘With all earnestness.’9 carat yellow gold mayoral chain for the City of Sandringham. Consists of two concentric circles of 57 small oval links, with an Australian Coat of Arms as a centrepiece and a large 'drop' medallion of the City of Sandringham seal below. Each oval link is made up of the cutwork initials of a mayor, the surrounding oval border has an inscription above the initials which gives the mayor's name; an inscription below gives dates of office; the earliest is Cr. B.J. Ferdinando 1917-18, and latest is Cr. S.T. Russell 1993-94. The ovals are surrounded by decorative scrolls and are joined by small curb chains. The outer circle contains 31 links, while the inner contains 26. On both shoulders sit decorative bars, joining the front of the chain to the back. The main medallion has an oval central panel that features the coloured Sandringham seal in enamel depicting two sailboats in the water, a pier protruding from the left, a coastline on the right with two pine trees. Above the scene are decorative triangles in light blue and yellow, above which is another section in dark blue containing a third sailboat. The seal is flanked by two engraved dolphins and above it sits an engraved St Edward's gold crown filled with red enamel. Below the seal, there is a ribbon containing the Latin motto 'OMNI OPERE' which is engraved and filled in dark blue enamel. The pendant is surrounded by cutwork lettering reading 'CITY OF SANDRINGHAM / 1919' and leaf decorations. The medallion is inscribed on the reverse with important dates in Sandringham's history. A fleur-de-lys joins the medallion to the Australian Coat of Arms centrepiece above. The Coat of Arms features a shield, depicting symbols of Australia's six states, in enamel, flanked by an engraved kangaroo on the left and emu on the right. Below it sits a ribbon engraved 'ADVANCE AUSTRALIA'.mayoral chain, ceremonial wear, seal, medallion, mayor, coat of arms, crest, bayside, blashki & sons, city of sandringham, sandringham, omni opere, blashki, mayoral regalia, motto, st edward's crown, sans and mcdougall

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). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

On Tuesday 28th September 1937, to the applause and cheering of a crowd of more than 300 people, a ceremonial ribbon was cut with a ‘beautiful pair of silver scissors’ by Mrs W H Everard, wife of local MP William Everard. The ribbon cutting ceremony was to officially turn on the mains electricity supply to Whittlesea and district. The moment the ribbon was cut there was a ‘blaze of light’. There were initially 78 customers, including the Shire of Whittlesea which had contracted the SEC to supply street lighting in Whittlesea, Yan Yean, Mernda and South Morang (Advertiser, Friday 1st October 1937, page 1). This ribbon is possibly a fragment of the official opening ribbon that was stamped with the date and details of the switching on of electricity in Whittlesea and given to patrons. Commemorative Ribbons. Silk ribbon, white, stamped with details commemorating the switching on of electricity in Whittlesea on 28 September 1937.Whittlesea / 28 Sep 1937 / Electric Light / Official Switching on / Ceremony electricy supply, w h everard, whittlesea district

The Samuel Browne belt is named after Sir Samuel James Browne VC. In 1858, Browne lost his left arm in battle (as a result of a sword cut) and as the dress regulations of his regiment required officers to wear their waist belts under their tunics, Browne found this ungainly and devised an external belt supported on the left-hand (sword) side by a shoulder strap. The belt had two shoulder straps when a holster was worn. In the Australian Army, a brown leather version is worn on ceremonial occasions by officers and Warrant Officers Class One of all corps, except those who wear silver dress embellishments (Armoured, Aviation and Nursing Corps). These members wear a black Sam Browne belt. Wide brown pattern stitched brown leather belt with adustable shoulder strap, brass buckle and brass loop fittings (4 at the top and 2 at the bottom) attached to the belt by stitched leather straps.Nonesam browne, belt, clothing

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 sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

1. Trousers issued to "D.R. Harris".Trousers - part of the Winter Ceremonial Uniform worn by Recruit to Leading Seaman ranks RAN. Known as Bell Bottom trousers. 1. Navy blue colour wool fabric. Trousers with inset front pockets with button closer. Two layer front flap fly with numerous buttons. Buttons - black colour plastic buttons. Blue and white colour cotton ticking lining to Waistband and pockets. White colour cotton manufacturers label, back inside waistband. 2. Navy blue colour wool fabric with inset side pockets, fob pocket, back pocket with concealed button flap. Five button fly and metal hook closer. Beige colour cotton lining to waistband and pockets. Manufacturers information - black ink print. 1. C.G.C.F./SIZE NI?/ R.A.N./ MADE IN AUSTRALIA". Also black ink stamp "D.R. HARRIS"uniforms, ran, d r harris

Ceremonial purple velvet collar with gold metallic bullion fringe to outside edge and gold metallic ribbon and ribbon lace to all edges. At each end is a five point star in gold zardozi work in sequins and metallic thread with central couched button. Above the stars on the LHS is couched zardozi work initial G and on RHS couched zardozi work initial M and above these are two identical five point stars as lower ones with the addition to each of two metallic thread tassles. At the bottom centre of the collar are two small rings. In a separate bag is a purple velvet rosette with central sequined button and braided surround with large tassle all in gold metallic thread.ceremonial collar, grand master

Manual consists of fiteen chapters related to drill movements. 1. Information for the Instructor. 2. Squad drill without arms - at the halt. 3. Marching. 4. Marching in line and changing direction and formation. 5. Rifle exercises at the halt and on the march. 6. Rifle drill for funerals. 7. Pistol drill - 9mm Browning. 8. Sentry Drill. 9. Quarter guards and sentries. 10. Sword Drill. 11. Drill with the cane. 12. Drill with the pace stick. 12. Unit drill - platoon drill. 14. Unit Drill - Company drill. 15. Unit drill - non-ceremonial. Plus list of illustrations, figures and tables. Part of the collection of KEVIN JOHN HERDMAN, No. 397661. See Cat. No. 5942P for details of his service record.Khaki coloured, textured soft covered manual with two punched holes for attaching to a ring binder. Title on front, cover in black type. Army logo in black. Pages are white in colour with black type. Black and white photographs and diagrams. Fifteen chapters. Pages glued to spine.drill movements, australian army, training manual, kevin john herdman

The 67th Battalion was raised in mid 1912 as a local militia training battalion in Bendigo. During World War One, many of its members enlisted in the newly formed 38th Battalion which was raised in Bendigo in 1916. At one point it was a garrison battalion stationed at Queenscliff. It was disbanded in 1918 and became the area 38th Battalion. The colours were laid up in St Paul's Cathedral in Bendigo on October 25th 1929. In 2006, with the cathedral needing to carry out repairs and alterations, the colours were offered to Bendigo's Soldiers Memorial Institute Military Museum. On 17th April, 2007 under direction from RSM Ceremonial, the colours were re-laid up in the museum in a ceremony conducted by the Reverend Peta Sherlock and witnessed by church and RSL members after 12 months of planning and putting together..1) Middle banner in the photograph. Rectangular banner representing the colours of the 67th Battalion on an olive green background. In the centre is a circular red medallion featuring an embroidered battalion badge. A purple circular border with 'Bendigo Infantry' on it surrounds the red medallion. All are surrounded by a gold and silver wreath depicting the flowers and leaves of the golden wattle. '67' is embroidered on the top right hand corner. The banner is fringed on three sides in gold. Two cords with gold and olive tassels are attached to the top right hand corner. A sewn sleeve for the pike is on the right hand side. .2) Wooden pike with metal spear head on end. A metal ring encircles the handle of the pike.battalion colours, 67th battalion, military banners, unit badges

This lance bucket could be attached to the stirrup iron quickly via the two straps and was for temporary issue to a troop for ceremonial occasions such as a vice regal escort, or Govt house guard when lances were carried. It differs from a much more common bucket which fitted over the top if the stirrup iron. An elliptical hole allowed the stirrup leather to pass through thus securing it to the stirrup more securely than the two straps alone. Lance buckets were used by the Squadron Sergeant Major and Squadron Quarter Master Sergeant of each Light Horse Squadron as they were the only ones to carry lances to assist them when they performed the duty of markers that the troops lined up on when on parade, or forming squadron-in-line, as they did for the charge at Beersheba. Unusual piece of light horse saddlery. Leather lance bucket with two adjustable straps to attach it to a stirrup.military, horse, stirrup, light horse, lance

Photographs of handicap dependents at enjoying music and dance from a military band that featured in an edition of the Answer. There were frequent events and activities organised by Melbourne Legacy for handicapped dependents. The Junior Legatees, with many mums and friends of Legacy went to the Defence Force School at Watsonia Barracks and were treated to a performance by the 2/10 Medium Regiment Band. The Bandmaster was WOI Dave Farrell and there was a surprise visit by a clown. According to the article "Former JL Sharon Taylor, now a corporal with 'Visits Protocol and Ceremonial' at the Defence Centre - Melbourne, gave a moving tribute to Legacy in recognition of the support she had received as a young girl. Junior Legatees were given an opportunity to play some of the musical instruments and the enjoyment is evident as the photos show." It was with a group of photos from 1990/91 in a folio with paper labels.A record of events run for the handicapped dependents by Melbourne Legacy.Colour photo x 4 of a musical performance for handicapped dependents and an article in the Answer.White paper label: "Legacy's disabled dependents enjoy an outing and musical performance by the 2/10 Medium Regiment band" in black type.junior legatee outing, answer, ddc, disabled dependents

Presented by Lieutenant-General Sir JJ Talbot Hobbs, KCB, KCMG, VD, LLD at a parade held on the Esplanade, Perth, 22 October 1927. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Dark green with gold fringe. In the centre the battalion colour patch of a white over blue diamond within a circle inscribed "TWENTY EIGHTH INFANTRY", the whole surrounded with a wreath of Australian wattle and surmounted by the Crown. In the upper canton the Arabic numeral "28". Battle Honours emblazoned on the colour:- POZIERES, BULLECOURT, YPRES 1917, MENIN ROAD, PASSCHENDAELE, AMIENS, MONT ST QUENTIN, HINDENBURG LINE, GALLIPOLI 1915, EGYPT 1915-16

This film is a curated collection of iconic early Australian films. There are three sequences. The first sequence consists of a segment of 1908 boxing match between Jack Johnson and Tommy Burns at Sydney Stadium, 1906 Hawthorn street scenes, and a 1909 VFL Football final. The second sequence consists of 1896 Melbourne Cup, 1906 Sydney street scenes and Baldwin Spencer footage of Australian indigenous ceremonial dance. The third sequence consists of a bush ranger scene from "Robbery Under Arms" (1920), a great escape scene from "The Sentimental Bloke" (1919) and Sydney Harbour boat chase from "Let George Do It" (1938). These sequences are repeated several times. These would have been selected by Robin Boyd for screening at the Australian Pavilion at Expo 70 in Osaka, where Robin Boyd was Exhibitions Architect. 16mm black and white silent film inside a circular metal canister with lid. Duration-39:33 minutes. Head out - Loose archival wind placed in archival film storage container.expo 70, jack johnson, tommy burns, melbourne cup, spencer baldwin, early australian film, robin boyd

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 white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the Army Survey Regiment in 1970. 1980 was the third time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Bob Skitch, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Paul Tomkinson and military dignitaries. The parade concluded after formal inspections of the troops. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995.These black and white photographs of the Army Survey Regiment were taken on the occasion of the Freedom of Entry parade to the City of Bendigo in 1980. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) Photo, black & white, L to R: MAJ Don Swiney, LTCOL Bob Skitch, WO1 Aub Harvey, unidentified, photographer in foreground – SGT Garran Hill .2) Photo, colour, black & white, L to R: MAJ Don Swiney, LTCOL Bob Skitch, WO1 Aub Harvey, unidentified .3) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, LTCOL Bob Skitch, unidentified .4) Photo, black & white: 3rd MD Band .5) Photo, colour, L to R: MAJ Don Swiney, WO1 Aub Harvey, LTCOL Bob Skitch, unidentified .6) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, unidentified, LTCOL Bob Skitch .7) Photo, black & white, L to R: SGT Stu Thaxter, LT Neil Taylor, CAPT Bob Roche .8) Photo, black & white, L to R: SPR Per Andersen – right marker .9) Photo, black & white, L to R: MAJ Peter Eddy .10) Photo, black & white, L to R: CPL Frank Lenane, CPL Flash Anderson, SGT Rhys De Laine, SPR Per Andersen .11) Photo, black & white, L to R: Mayor Paul Tomkinson .12) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, unidentified, LTCOL Bob Skitch .13) Photo, black & white, L to R: unidentified personnel .14) Photo, black & white, L to R: unidentified personnel .15) Photo, black & white, L to R: unidentified personnel .16) Photo, black & white, L to R: unidentified personnel .18) Photo, black & white, L to R: CAPT Paddy Strunks, Mayor Paul Tomkinson, LTCOL Bob Skitch .19) Photo, black & white, L to R: Mayor Paul Tomkinson, CPL Bill Jones, CPL Gary Drummond, WO2 Tom Pattison .20) Photo, black & white, L to R: CAPT Paddy Strunks, WO1 Aub Harvey, Mayor Paul Tomkinson, SGT Rick Warren, CPL Andy Wilson …, WO2 Ted Burgess .21) Photo, black & white, L to R: LTCOL Bob Skitch, SPR Roy Hicks, Trevor Osborne, SPR Paul Baker, CAPT Stan Vote, CPL Bill Jones, Greg Francis-Wright .22) Photo, black & white, Air Survey Squadron inspection. Rear rank: SSGT Russell ‘Rusty’ Williams. Centre rank L to R: CPL Peter Treble, SGT Jim Beard, SPR Peter Hardy, SPR Steve Hilton, SPR John Lane, CPL Mick Hogan, Mayor – Councillor Paul Tomkinson. .23) Photo, black & white, L to R: Mayor Paul Tomkinson, CPL Marrianne (Van De Zee) De Groot, SPR Cathy Regan, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore .24) Photo, black & white, L to R: Mayor Paul Tomkinson, SPR Cathy Regan, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore, WO2 Pat Lumsden .25) Photo, black & white, L to R: LTCOL Bob Skitch, Mayor Paul Tomkinson, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore, WO2 Pat Lumsdenroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

A portfolio containing documents, photographs, letters and articles pertaining to "The Prince of Wales" over the years. Printed in Great Britain.A landscape cardboard folder which opens up to show the pages being held inside. Front cover has a red square in bottom left with white writing giving title of folder, (The Prince of Wales The Title and its Holders), whom written by (J P Brooke-Little Richmond Herald of Arms), edited by Jack Le Vien. A Giniger Portfolio. Published in association with George G Harrap & Co. Ltd. Above red square is a picture of Prince Charles. In middle is a copy of two documents. On right side Prince Charles in ceremonial dress. Across the two documents in middle is a red square with white writing "A Living History Portfolio". Back page is red with a white rectangle which lists the contents of the portfolio. Inside is white.prince of wales, richmond herald of arms, j p brooke-little, jack le vien, giniger portfolio, george g harrap & co ltd, ian deaville

This chain was part of the official regalia worn by the Mayor of the City of Brighton before the amalgamation into Bayside City Council in 1994. The chain was seen as an outward sign of power, authority, and responsibility and was a formal, full-dress type of regalia that was worn by the mayor over their robes at ceremonial functions. The large central drop medallion featured the design of the council seal and the links of the chains detail the name and date of each appointed Mayor. This council seal features the Brighton coastline with a pier extending to the water, a sail boat in the distance and a train on the right of the pier. It was displayed by Council on its flag and letterhead and in municipal buildings and can still be seen on the portico of Brighton Town Hall. The seal was used from 1919, when Brighton was declared a city, until 1970, when an official crest was issued by the British College of Heraldry. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.9 carat yellow gold and enamel mayoral chain for the City of Brighton. Consists of 61 small oval links, with a scroll listing significant dates in Brighton's history as a centrepiece and a large 'drop' medallion of the City of Brighton seal below. Each oval link has a central plaque inscribed with a mayor's name and dates of their office surrounded by a thin coiled edge and a thick decorative border. The earliest Mayor is W.P. Francis 1918-19 and the latest is K.D. Oliver 1994-95. The links are joined by cable chain and form a long circular chain with two crosspieces of additional links at the back, the upper crosspiece contains four links, while the lower piece contains three links. The chain has a large oval medallion/pendant of the City of Brighton seal which is surrounded by a thin coiled gold edge, a border containing raised lettering 'CITY OF BRIGHTON' above and a Coat of Arms below. This is also surrounded by a coiled edge. The oval piece is then wrapped around with a thick laurel wreath with small berries. The central part of the medallion contains a coloured enamel image of the Brighton coastline with sand in the foreground, a pier extending out into the water, a sailboat in the distance and a train on the right of the pier. The small Royal Coat of Arms of the United Kingdom below includes a coloured enamel shield flanked by a lion and unicorn with a motto inscribed on a ribbon underneath 'DIEU ET MON DROIT'.mayoral chain, city of brighton, lega, ceremonial wear, seal, medallion, mayor, coat of arms, crest, bayside, mayoral regalia

When Thomas Bent, politician and land speculator, was appointed Speaker of the Victorian Legislative Assembly in 1892, a number of local Brighton constituents and supporters raised money to present him with an oil portrait. Bent had been a member for Brighton for 21 years, and the painting was seen as a way of showing their appreciation of his services to the Brighton constituency, as well as congratulating him to his new position as Speaker. In June 1892, British/Australian landscape and portrait artist Charles E. Gordon-Frazer was given the commission to paint the portrait. Thomas Bent is depicted as standing in his Speaker's robe on the dais beneath the canopy in the Legislative Assembly Chamber in the act of addressing the House. He wears the traditional Speaker’s dress of a black silk and gold laced robe over a three-piece black suit, lace jabot and cuffs, buckled shoes and a ceremonial long wig. The top of the gold parliamentary mace sits on the right of the work near the frame's edge.sir thomas bent, thomas bent, speaker, mayor, premier, brighton, moorabbin, land speculator, local government, councillor, official, member of lower house, portrait, parliament, ceremonial robes, legislative assembly, jabot, wig, mace

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). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

RAN Winter Ceremonial Officer's Uniform - black colour wool/polyester fabric. 1. Jacket - double breasted style with six buttons, collar, one inset, left breast pocket, two inset lower pockets with flap. Collar with two lapel metal badges - gold colour - Coat of Arms, Australia. Shoulder patch - black fabric, gold lettering "AUSTRALIA". Sleeve rank insignia patch fabric - Coat of Arms Australia = Warrant Officer. Buttons - gold colour metal buttons with shank with raised emblem lettering. Queens Crown, Anchor and "AUSTRALIA". Lining - black colour, polyester cotton fabric. Two concealed pockets. 2. Trousers - with fob pocket, two inset side pockets, one inset back pocket. Belt loops nylon/metal zipper fly and metal hook closer.Manufacturers inscription on back of buttons "STOKES & SONS/ VICTORIA"uniform, ran

The Freedom of Entry to the City on the 26th of October 1990 was an honour first conferred by the Bendigo City Council to the Army Survey Regiment in 1970. This was the fifth time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Rene van den Tol, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor James Douglass and military dignitaries. The parade concluded after formal inspections of the troops. Regiment members were treated to a civic reception at the City Hall after the ceremony. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985 and 1995.This black and white photograph of the Army Survey Regiment were taken on the occasion of the Freedom of Entry parade to the City of Bendigo on the 26th of October 1990. The photograph was printed on photographic paper and is part of the Army Survey Regiment’s Collection. The photograph was scanned at 300 dpi. .1) Photo, black & white, L to R: LT Simon Buckpitt, MAJ Bob McHenry, unidentified, Mayor James Douglass, unidentified staff officer (partially obscured), ranks of unidentified Army Svy Regt personnel.No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

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 murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Edwin Alderson was born in 1859 and served in several campaigns of the late nineteenth and early twentieth centuries. He saw service in the First Boer War in 1881 in the Transvaal. In 1896 he was sent to Mashonaland as a commander of a regiment of local troops during the Second Matabele War. In 1900 shortly after the outbreak of the Second Boer War he returned to South Africa to command the Mounted Infantry against the Boer forces. Alderson also served in the 1882 Anglo-Egyptian War, Mounted Camel Regiment during the failed expedition to relieve Khartoum and rescue General Gordon. At the outbreak of the First World War, Alderson was in charge of the 1st Mounted Division. He retired from active service in 1920 aged 61. In 1901, as a result of Alderson's contribution to many campaigns he was rewarded with confirmation as a Brigadier General, appointment as a Companion of the Order of Bath and to receive the ceremonial post of Aide-de-Camp to Queen Victoria, who died the same year. He also received the Queen's South Africa Medal. He died in 1927 aged 68. Individual image from photographed poster of tobacco and cigarette cards. alderson, campaigns, first boer war, transvaal, mashonaland, south africa, second boer war, first world war, anglo-egyptian war, mounted camel regiment, second matabele war, general gordon, brigadier-general, companion of the order of bath, aide-de-camp, queen victoria, queen's south africa medal

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art