Map included with book "Victoria: Gold and Minerals" issued by Mines Department Victoria, 1935Fold out coloured mapYellow mark indicating depositsvictoria, auriferous areas, mineral localities, department of mines, tin, antimony, copper, silver lead, tungsten, manganese, platinum, iron

Early example without the gun shield on machine gun. Pair of large top hatch doors open out to reveal mortar. APCis coloured olive green.Yellow circle with number 11machine gun, model, m106, apc

The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation where it resides amongst the shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise it's bill skyward in a pose which helps it to camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.Paper tag: ...Bittern... [Catalogu]e, page 3...taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern

A colour slide of the front of Blamey House, Burke Road Kew, from the driveway in 1970. There 10 slides from the same roll of film, some are marked 'Blamey 1970'. Legacy ran residences to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for education. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of a Legacy residence supporting children of deceased servicemen.Colour slide of Blamey House and a grey car viewed from the driveway in Kodachrome off-white cardboard mount with yellow and red print.Printed on front 'Made in Australia' in yellow ink. Printed with slide date 'Feb70M3' and slide number '7' in black ink. Handwritten '4' and 'Blamey 1970' in blue ink. Printed on reverse "Kodachrome Transparency / Processed by Kodak" in red ink.residences, blamey house

A colour slide of the front of Blamey House, Burke Road Kew, from the driveway in 1970. There 10 slides from the same roll of film, some are marked 'Blamey 1970'. Legacy ran residences to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for education. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of a Legacy residence supporting children of deceased servicemen.Colour slide of Blamey House and a grey car viewed from the driveway in Kodachrome off-white cardboard mount with yellow and red print.Printed on front 'Made in Australia' in yellow ink. Printed with slide date 'Feb70M3' and slide number '9' in black ink. Handwritten '3' and 'Blamey 1970' in blue ink. Printed on reverse "Kodachrome Transparency / Processed by Kodak" in red ink.residences, blamey house

A colour slide of the front of Blamey House, Burke Road Kew, from the footpath in 1970. It shows the white Blamey House sign on a white pole. There 10 slides from the same roll of film, some are marked 'Blamey 1970'. Legacy ran residences to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for education. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of a Legacy residence supporting children of deceased servicemen.Colour slide of Blamey House and a grey car viewed from the street in Kodachrome off-white cardboard mount with yellow and red print.Printed on front 'Made in Australia' in yellow ink. Printed with slide date 'Feb70M3' and slide number '11' in black ink. Handwritten '1' and 'Blamey 1970' in blue ink. Printed on reverse "Kodachrome Transparency / Processed by Kodak" in red ink.residences, blamey house

This specimen was recovered from Mica Schist, Canada. Chalcopyrite is a copper iron sulfide mineral with a chemical composition of CuFeS2. Its name derives from the Greek words for copper (chalco-) and brass (pyrite). It can be found in shades of yellow, green and grey, and, when exposed to acid, it can change to purple, blue, violet and yellow tones. Weathering can cause loss of its metallic luster and its brass-yellow colour. Chalcopyrite forms under various conditions, with the most significant deposits being hydrothermal in their origin. It is known globally as the most important ore of copper for thousands of years, and is thus considered a very important mineral formation. Given its golden appearance, it is often confused for the mineral gold, earning it the popular reputation as 'fool's gold' or 'yellow copper'. However, it can be straightforwardly distinguished from gold; the latter is soft, with higher specific gravity and a yellow streak, whereas chalcopyrite is brittle, easily scratched by a nail, and has a greenish grey streak. Copper was the first metal that was used by people. It was discovered by the Neolithic man about 9,000 years ago and it gradually replaced stone as it was easier to be shaped. In Australia, search for copper began after the European settlement, leading to the discovery of substantial deposits, like the one at the Olympic Dam in South Australia, which is regarded as one of the largest copper deposits in the world. Chalcopyrite has been used for copper since smelting processes began approximately five thousand years ago. Although by no means rare, this the specimen of this mineral can be used to reflect a wider history of industrial uses of copper for a significant portion of human history. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand-sized copper iron sulfide mineral of brass yellow, often with an iridescent tarnish, with greenish-black streak and submetallic luster. Chalcopyrite can be formed in several ways, including crystalizing from accessory minerals in igneous rocks, or from magma or within volcano sulfide deposits. Most commonly, chalcopyrite are found in hydrothermal conditions, where it forms in hydrothermal veins. As a member of the tetragonal crystal system, it often takes the shape of tetra-headed crystals, often with striations along the sides of the crystals. #18 Copper pyrites/(chalcopyrite) in/Laurentian Slate/(page 315 of inventory)/page missing from/descriptive catalogue/ Other label: 81 /fool's gold, chalcopyrite, mineral, rock, geology, geological, hydrothermal, neolithic, european settlement, olympic dam, south australia, stone, deposits, specific gravity, greenish grey streak, brittle, mineral gold, metallic luster, cufes2, greek words

A copy of a letter to be sent to donors to ask for their donations in 1971. It mentions statistics of widows and children helped and the estimated expenditure required. The yellow card listed 1,740 legatees in Victoria, helping 19,353 widows and 9,573 children being helped. Was part of a folio of proforma stationery from the 1960s. A similar set of proformas are at 00338.A record of forms and items used in Legacy's business practices in the 1960s.White Melbourne Legacy letterhead with navy torch and details and black type sent to donors signed by President R Robertson in 1971, pasted on brown paper from a folio of forms and brochures from the 1960s. Also a yellow card with Annual Appeal statistics of interest.proformas, stationery, forms, mailout

CEMA Art collectionStreet scene with three buildings and a fenced area. The centre focus of the work is two small buildings. The building on the left is yellow with red roof and green door. Standing in front of the house is a female figure with red shirt and white skirt. The building to the right is pale yellow with green roof, red chimney and green door. There is a Norfolk Pine tree behind the middle house. The image is depicted using straight lines in pen for the outline of the buildings and for some of the details.The work has plain wooden frame with a mount and glass.Front: Old Cottages Richmond St.Portland Ruth Denny 1967(black, handwritten) Back: Sticker:DEAN'S MU 8291 FOR FRAMING 346 LT.COLLINS ST., MELB. NO. 20438 Yellow sticker: 3034female artists, female artist, women, portland street scene, portland, richmond street

CEMA Art Collection Winner of 1963 Portland Art Society Art Prize for category Watercolour. Included in the 1999 "Salvage" exhibition at CEMA Arts Centre.The painting depicts mountain ranges from an elevated position looking down across the mountains. The mountains in the foreground are predominantly shades of green, yellow and brown. The mountains in the background are various shades of blue and extend into a pale blue sky. The work has a grey painted frame with a white cardboard mount and glass.Front: E Denton (lower right, black paint) Back: ENID DENTON "FLINDERS RANGES" (1963) Watercolour (typed label) 1963 (yellow sticker)

A circular sent to Victorian schools informing them of the annual "Anzac Commemoration Ceremony for Students", held each April. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The 4 pages outline the order of service of the ceremony, some background notes on the ANZAC Commemorations, and a letter from the Legacy President W. A. Braidie inviting the school to attend. There is a yellow reply form for the Principal to fill out, nominating the number of children who would be attending. They mention the ceremony is broadcast on the ABC radio stations. It mentions is it a 'Circular to Victorian Colleges and Schools' so they were sent to school to publicise the events. There is a letter to the school Principal in each programme from the President of Legacy inviting the schools to attend or to listen to the telecast.A record of a ceremony at the Shrine for school students.Printed brochure with black and white photo of the Shrine, single page folded in half and a single page yellow form.anzac commemoration for students, wreath laying ceremony

Lieutenant General Robert Stephenson Smyth Baden-Powell, 1st Baron Baden-Powell, OM, GCMG, GCVO, KCB, KStJ, DL, was a British Army officer, writer, founder and first Chief Scout of the world-wide Scout Movement, and founder, with his sister Agnes, of the world-wide Girl Guide / Girl Scout Movement Kingston H Pack was a group located in South East Melbourne The Scout and Guide movement was a very popular post war youth movement that taught children self confidence, reliability, outdoor survival skills, with companionship, adventure, fun and discipline.A brown cotton Brownie Guide Uniform with achievement badges sewn on sleeves, shoulder and chest and a yellow tie with buttons and a brass clover badge On Right Sleeve ; 8 Achievement Badges, Right Chest ; Highway, Vent Pack On Left Shoulder ; Kingston H Pack Sth Metro Region , Patch with Star 2 ; Left Sleeve: Venture Triangle , Pack Holiday; Left Chest: Brownie , 2 yellow stripes girl guides, brownies, general baden-powell, baden -powell agnes, kingston h pack brownie guides, scouting, clothing, underwear, petticoats, knitting, dressmaking, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower from North East Victoria. Mr CLyde would use this booklet to record the details of the wool bales which he sold through Goldsbrough Mort. The first yellow sheet in the booklet indicates that it was filled out in 1947.Faded red/orange paper booklet with three metal staples on left side spine. Top of front cover has an image of a rams head above decorative text reading -Goldsbrough, / Mort / & Company Limited-. Address and services provided are also listed on font cover. Back cover shows an image of a warehouse and gives addresses of warehouse storage locations. Inside front and back covers have instructions and tips on using the booklet. There are several yellow pages upon which can be recorded the wool bale details, transferred between pages with missing carbon paper. There is a loose, small white sheet of paper which displays an example of how the yellow sheets should be filled out.wool sales, wool auctions, wool transportation, wool bales, mrs robyn adams, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited, goldsbrough, mort and company limited

The New Holland Honeyeater can be found throughout southern Australia, from about Brisbane, Queensland to just north of Perth, Western Australia. They are native to Australia and are named after Australia's first name (new Holland). This specimen is mounted correctly but looks different to the typical images of this bird because it is a younger New Holland Honeyeater and is; therefore, brown in colour instead of the typical black. 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.The Young New Holland Honeyeater is brown in colouring and has grey glass eyes (like this one) while adults are black and white with white eyes. Both have a large yellow wing patch and yellow sides on the tail. It has a small white ear patch, a thin white whisker at the base of the bill. This honeyeater is an active bird, and rarely sits still long enough to give an extended view. Sexes are similar in looks, but females are slightly smaller in size.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, new holland honeyeater, brown, black, yellow, australia, new holland

CEMA Art collection Previously located in History HouseThe painting portrays a gorge from the perspective of being in the gorge and looking towards the shore. In the foreground is a small body of water with large brown rocks to the right. Yellow sand extends from the rocks around to the left of the water. The sand stretches from the water's edge to the large cliffs in the background that form the borders of the gorge. The work is mounted and framed in an ornate gilded frame with glass.Front: A.S.Murray (signature lower left) A ROCKY GORGE by A.S.MURRAY (sticker - lower centre on glass) Back: 3132 (small yellow sticker)

This glass is typical of massed produced souvenirs which were purchased mainly as a memento or small gift. It is doubtful it was produced locally. Small glass shot glass with small blue toned circular medallion surrounded with white metal rim. The image is of a whale's tail in the sea.Warrnambool in yellow text and Australia in white.

Rectangular metal cigar tin with hinged lid. Gold coloured with image of the Prince of Wales on lid. Contains six of the original ten 1920 cigars "Prince Charming" in red & yellow lettering cigars, prince of wales, tins

Victory on the Pacific Day was 15 August 1945.12 page, broadsheetThe Sun, yellowing pages Number 11,081world war 2, britain, japanese surrender, attlee, churchill, australia, singapore, world war two, newspaper, end of the war

Sample of wallpaper from the "west wall" of Horticultural Hall.Sample section of wallpaper from Horticultural Hall. Flora design with red and yellow flowers wallpaper, horticultural hall

Appears as an illustration in, "Green Grows Our Garden," A.P. Winzenried p 79 with the caption, "This elm began to decline about 1947: it recovered somewhat after pollarding but was eventually removed."Black and white photograph. Elm TreeOn reverse, "20/10/47 Yellow."elm tree, green grows our garden a.p. winzenried, garden view

This lanyard dates to the latter half of the 20th Century. The colour yellow relates to the armoured forces. The lanyard was issued to the “Prince of Wales’s Light Horse’ Regiment, however the date of issue is unknown. A Prince of Wales Light Horse unit was based in Kyneton, a neighboring town to Woodend. This lanyard likely originated from the Kyneton area. It is possible that the lanyard was used during the Vietnam war in which the Regiment participated. However considering the condition of the item, it is highly likely that the lanyard has not seen active serviceThis item is represenative of a standard armoured military lanyard. It is also in very good condition.Long strip of cylindrical yellow knotted fabric. There is one large loop, knotted two thirds along the length of the fabric for attachment to the shoulders. There is another small loop at the very end for insertion into a pocket.battle dress, lanyard, prince of wales light horse, uniform, army, cavalry, armoured

This memorandum is in relation to a review of the communications systems and procedures. There are two copies of the report and detailed phone charges from Telstra, the communications carrier. There were seven recommendations made. The Board of Legacy Melbourne concluded that the report was more a description of current practices and procedures and did not critically analyse actual expenditure over past years or the effectiveness or appropriateness of the current system. The memo demonstrates Melbourne Legacy desire to review procedures to stay relevent.White A4 paper with black type x 3 pages.Yellow post - it note attached to first page, notations in black biro throughout the document and some yellow highlighter.regulations, review, procedures

This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron

This captured enemy flag bears the signatures of 9RAR, 1969. It was collected by Private Lionel Leslie Corrie, Service no:1201398, who served in Vietnam 1968-1969. It is the flag of The People’s Army of Vietnam, the communist North Vietnamese Army (NVA) which infiltrated and then invaded South Vietnam between 1955 and 1975. It is believed that the members of 9RAR signed this at a reunion after the war had finished.Faded red and blue material flag with a yellow five pointed star in the center. Gold Vietnamese embroidered lettering at the top on the red/orange half of the flag and on the bottom blue half of the flag. Autographed by Australian soldiers in black. Sewn with red cotton. Red and blue flag of the People’s Army of Vietnam. Vietnamese writing at top and below the yellow star. LUCLUONG VO TRANG GIAI PHONG MIEN NAM VIET NAM. GIAI PHONG NUI DAT 1968.flag, 9rar, people's army of vietnam, captured, corrie, lionel corrie, north vietnam, north vietnamese army, nva

Velvet Soap was a widely used laundry bar soap launched in 1906, produced by J. Kitchen & Sons, owned by John Ambrose Kitchen (1835 - 1922). Kitchen was born in Britain and emigrated to Victoria in 1854. After a less than successful period at the Caledonian and Blackwood diggings, Kitchen returned to Melbourne and joined his father and brothers in establishing a tallow candle making works. Through merger and expansion the company became the pre-eminent manufacturer of soap and candles in the eastern colonies in the mid to late 19th century. Kitchen also speculated in a number of enterprises but suffered financial setbacks as a result of the 1890s bank crashes. Despite this, the company continued to grow in the early twentieth century with the introduction of products such as Velvet Soap and Solvol. The company merged with the British company Lever Bros in 1914 who eventually took full control of the company in 1924, becoming Lever and Kitchen. Advertising for Velvet Soap in Australia was extensive and pervasive. All manner of surfaces were used to advertise the product such as building walls, roofs, and most commonly, enamelled sheet metal signs which were fastened to any available surface internally and externally. The most common form of sign that Velvet Soap used was the words 'PURE VELVET SOAP' in white lettering within a vivid dark blue, elongated Maltese cross. On the enamelled metal signs the Maltese cross sat on a red background with a yellow border. While this was the dominant form for Velvet Soap signs, there were variations from the standard. The Velvet Soap sign is of historical significance as a representative of painted signs that were once a common form of advertising during the nineteenth and early twentieth centuries. - : http://vhd.heritagecouncil.vic.gov.au/places/14447#sthash.Vb6KAUWl.dpufHistoric - Advertising Sign - Velvet SoapTin sign with white, yellow, red and blue enamel. Pure velvet soap.puffing billy, enamel sign, pure velvet soap

Yields information about how bogie trams were transported to Ballarat from Geelong and then received into the depot and offloading the bogies.Digital image from the Wal Jack Ballarat Album of photographs of Geelong No. 40 bogies being off loaded by Yellow Express Crane from the delivery truck in the depot yard, Wal Jack photo 29-3-1956. Became Ballarat No. 43 - see Reg Item 5345 and 7786 also. . See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative On rear in blue ink "SEC Ballarat No. Yellow Express No. 10 crane, lifting No. 1 end bogie off Yellow Express Road transport, (No. 40 ex Geelong) Wendouree depot 29-3-56" with Wal Jack stamp in top right hand corner with number "T231" written in.trams, tramways, delivery of tramcars, bogie trams, depot, tram 40, tram 43

The Golden Whistler is native to coastal areas of Australia, from Queensland around to Southern Western Australia, including Tasmania. It usually lives in dense forested areas. The males have bright yellow plumage, whilst the females have only pale yellow plumage. The males and females work together to build the nest and raise chicks. They eat spiders and insects. The taxidermy specimen is not a good example of a Golden Whistler. Its feathers are very faded and ruffled. There looks to be some damage on the throat of the specimen. The Golden Whistler has usually vibrant colours, whilst this one is almost white. The colour markings on the bird indicate that it is male; the specimen should be a bright yellow. 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 male Golden Whistler has a black head and stripe on chest, brown-grey wings and tail and white patches on throat and neck. The belly is a white-yellow, though significantly faded. Its feathers are quite ruffled and there is sign of damage to the throat. The specimen stands on a wooden stand and has an identification tag attached to its leg. Label: 24a / white throated Thickhead / See catalogue, page 11taxidermy mount, taxidermy, golden whistler, beechworth, burke museum, australian bird