Male and Female Chinese shadow puppets in frame with black and gold mount. China Shadow Play. chinese shadow puppet, male shadow puppet, female shadow puppet, black and gold mount, souvenir

Gold badge mounted on black velvet. Used on beret or hataattv, gold badge

Morna Sturrock believed this was the first time Underside Couching, the hallmark of Opus Anglicanum, had been attempted in Australia.An example of 13th century Opus Anglicanum. The figure of St. Stephen is worked in silks. Halo and background in gold couching. Gold velvet mount and gold and black frame.embroidery, goldwork, picture, 1960-80, australia

Diggers & Mining. Gold. ''Mount Macedon from the Black Forest 1855'' shows. Writing on picture Mount Macedon from the Black Forest. Signed James ? Depicts Black? Store with travellers many of them Chinese. The slide has blue pen markings on it. Markings: 7 994.GOL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Exhibited at the 1966 Georges Exhibition and purchased by the Victorian Guild. Designed and worked by Mrs E.M. John, Doncaster School of Art, U.K.Cream satin, great variety of stitch techniques in coloured threads, gold and silver. Some applied with gold kid. Mounted in a black and gold frame.embroidery, goldwork, 1960-80, england, creative, panel

Displayed in History House.Black and white ambrotype image of a seated woman holding a small book in her left hand. She is wearing a high-necked black dress with small white collar. At her throat is a broach and at her waist are two button closing the front of her jacket. Both have been tinted gold. Framed in gold mount with a leather-bound hinged case with cream velvet lining.ambrotype, studio portrait, portrait photography

Madonna and child, overlooked by a third figure, are depicted in silk shading. Halo and sleeve edges are of gold metal thread, couched. Mounted in gold frame, with a black mount.embroidery, panels, silk embroidery, ecclesiastical, 16th century

A studio portrait of A. F. Daniel, a former Shire President of the former Shire of Bulla.Mounted b/w photo of A. F. Daniel. Black cardboard mounting with gold writing.Printed on front of mounting: Gourelle 69 & 71 SWANSTON ST / MELBOURNEshire of bulla, shire presidents, daniel, a. f., gourelle, photographers, george evans collection

ROBERT HOULISTON BARON (born Wangaratta, enlisted Bendigo) No 3596 enlisted in the AIF in 10th reinforcements 57th Batt on 2.8.1917 age 18 years 5 months. Embarked for England 28.2.1918, promoted Acting L/Cpl 3.9.1918, embark for France 25.1.1919 and attached to Divisional HQ, embark for England 6.6.1919, discharged from the AIF 25.9.1919.Heavy timber frame, gold inset, white mount & glass front. Black & white rectangular portrait photo of WW1 Soldier."3596 ROBERT HOULISTON BARON" photography-photographs, military history - army, cooper collection

A pair of cufflinks with the Legacy symbol. It is not known if they were produced to sell during Badge Week or whether they were are gifts to Legatees or former Junior Legatees. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them. Diamond jubilee cufflinks were issued for Legatees to purchase in 1983. No photo available but a drawing looks similar to these.Example of Legacy items that were produced to raise money for Legacy's work or to give in appreciation. A pair of cufflinks with the Legacy symbol on a medium blue enamel background and set in gold coloured metal, mounted in a black velour gift box.badge week, fundraising, souvenir

This black and white mage depicts large group of men dressed in military uniform of the Light Horse - with most wearing bandoliers and slouch hat, some with emu plumes. The 13th Light Horse Regiment was formed at Broadmeadows in Victoria in March 1915; it was the third light horse regiment to have been raised in that state. Its regimental number quickly led to it becoming known as the "Devil's Own" regiment. It left Australia on 28 May and disembarked in Egypt on 29 June 1915. In 1921, Australia's part-time military forces were re-organised to perpetuate the numerical designations of the AIF following its demobilisation. Through this process, the 13th Light Horse was re-raised as a Citizens Forces unit in Victoria, adopting the territorial designation of the "Gippsland Light Horse". In 1939, the regiment was amalgamated with the 19th Light Horse to become the 13th/19th Light Horse.In August 1940, during the opening stages of the Second World War, the 13th was re-formed in its own right. It was later mechanised and re-designated the "13th Motor Regiment". In May 1942, it was converted into an armoured regiment – designated as the "13th Armoured Regiment" – as part of the 2nd Armoured Division's 6th Armoured Brigade, which had been formed for defensive duties to guard against a possible invasion of mainland Australia. After moving to Puckapunyal in July, the regiment was equipped with M3 Grant tanks. Further training was undertaken in Murgon, Queensland, throughout 1943. By that time, manpower within the Army was scarce and as the threat of an invasion by the Japanese diminished during the year, so too did the need for large-scale armoured forces. A number of armoured units were subsequently disbanded as men and equipment were reallocated as the Army reorganised for jungle warfare. As a result, the 13th was disbanded in October 1943. In the post war period, the unit was perpetuated by the 8th/13th Victorian Mounted Rifles, which existed between 1948 and 1991–92. During WWI three light horse regiments were raised in Victoria for the AIF, the 4th ALH, the 8th ALH and the 13th ALH. These regiments served with distinction at Gallipoli, in the Middle East and on the Western Front.Wide and narrow rectangle shaped black painted frame with gold colour mount. The frame contains a black and white photograph depicting a large group of men dressed in military uniform with bandoliers and slouch hat, some with emu plumes. A small black strip of plastic is attached in the centre of lower edge.Front - 13th Light Horse Rear - 2nd Division Cavalry School Broadmeadows 20-09-1935victoria, 13th light horse

Designed and made by Lorna Law, with inspiration from the program of the "Cats" musical, and her daughter's gymnastic exercises.Seven cats in black and golds, worked in needle-lace inside a 27" ring wrapped in black thread, the whole mounted on a soft-gold fabriic, and mounted on black, in a narrow black frame. Cats eyes are silver metallic thread.embroidery, pictures, needle lace, australia, 1980-2000

Frame - Golden timber/mottled. Inner frame - Gold embossed. Mount - brown flecked cardboard. Painting (on glass?) Male - High button jacket (black). White shirt. Black tie. Short beard. Full head hair. Grey background. Facing right.Front: W.T. Pile. Esq. 1880-86-87william thomas pile, mayor of portland, 1880s

DH Tiger Moth Aircraft were used by the RAAF as elementary trainers in the empire air training scheme of 1940-44 during which time Australia trained 27,387 aircrew members. Although primarily employed as trainers, a few Tiger Moths were camouflaged and used operationally with army co-operation units in New Guinea. The Tiger Moth remained in RAAF service for almost 17 years, and several Tiger Moths were also transferred to the RAN after World War II. Eventually, on 9 January 1957, the last 10 RAAF Tiger Moths were flown from Point Cook to Tocumwal for disposal.The de Havilland Tiger Moth aircraft is a 1930's biplane which was a primary trainer aircraft used to train over 27,000 aircrew in Australia during the Second World War.Black frame with gold insert and cream mounting containing black and white photo of several planes in the background and numerous aircrew members in the foreground. Front: Aircrew Training. DH Tiger Moth Aircraft were used by the RAAF as elementary trainers in the empire air training scheme of 1940-44 during which time Australia trained 27,387 aircrew members. Royal Australian Air Force No.11 in a series of 25. raaf, aircrew, training, world war 2, tiger moth

Frame - Golden timber/mottled. Inner frame - Gold embossed. Mount - Maroon flecked cardboard. Male - Facing front Black open jacket/button holes on lapel/vest. White shirt and black button. Full beard. Receding hair line. Background - white and greyFront: H.E. Brewer. Esq. M.D. 1866.portrait photography, portrait, photography, civic photography

Captain John E D White, Australian Army Training Team in Vietnam (AATTV) took over command of 11 Mobile Strike Force (Mike Force) Company in Da Nang, Vietnam, in February 1968. He was 26 years old. The 2 NVA Division was moving from Laos into South Vietnam and his mission was to establish contact with the division and trace its movements south. In mid-March the company was air lifted to the Special Forces camp of Kham Duc, near the Laotian border. They used an old French Foreign Legion fort as a temporary base from which patrols could be sent out. White called it Ngok Tavak after a nearby mountain. Initially, patrols failed to find the enemy, but in late April a patrol clashed with the enemy. At the same time, White received intelligence that the NVA division was closing in. At night they could hear explosions in the distance heading toward them. White decided their best chance was to leave the fort and take to the jungle to adopt guerrilla tactics. However, in the meantime a platoon of United States Marine Corps artillery arrived bringing with them two howitzers and a stockpile of ammunition. To abandon the fort was to abandon the guns. White contacted Da Nang, explaining the predicament, and was ordered to remain where he was. A Civilian Irregular Defense Group (CIDG) platoon was sent to reinforce his numbers. This was a para military force comprised mainly of indigenous highlanders, trained by United States Special Forces. They also brought with them two mortars and their crews. At 3.15am on 10 May 1968 some members of the CIDG chose to assist the NVA to attack the fort instead of supporting Mike Force, and close hand to hand fighting followed, along with grenade attacks and heavy machine gun fire. Air support offered a brief respite from the NVA attack, and some NVA forces were pushed back outside the perimeter by counter attacks, but at 9am White contacted Da Nang to advise that his position was untenable. A second attack was imminent and they could not withstand it, so they would have to withdraw. The wounded were evacuated by helicopter (under orders from Major Mai, the NVA had not attacked the previous medical helicopters that collected the wounded under the cover of air strikes) and at 1pm the rest of the force evacuated east, into the jungle. The NVA did not notice their withdrawal, and continued mortar attacks on the fort for another ninety minutes. Seven kilometres from the fort White called for a helicopter withdrawal of his forces. The force was successfully lifted to Kham Duc and then Da Nang. (Credit AWM)Black framed glass covered flag. Red material with gold fringe, gold writing with Blackbird in the centre with parachute holding 2 white swords standing on a gold star. 11Co. in gold underneath. Gold plaque mounted under the flag.GUIDON OF 11 COY (NUNG) MOBILE STRIKE FORCE (MIKE FORCE) /5th SF GROUP, 1 CORPS, SVN/ A Significant number of AATTV personnel served with this Nung Company based in Da Nang./ At the end of the Vietnam War, this flag was taken by a former US SF officer and held until/ when it was given to former Captain John "Jed" White (AATTV), CO 11 Coy (Nung), who led/ the MIKE Forces at the Battle of Ngok Tavak on 10 May 1968.battle of ngok tavak, mobile strike force, nung, john white

The 11th Australian Infantry Battalion AIF was among the first infantry units raised for the AIF during the First World War It was first raised at Black Boy Hill Camp in Western Australia on 17 August 1914 and recruited from militia units. This picture of the 11th Battalion at the Cheops pyramid in Egypt in 1915 was taken just before the landing at Anzac Cove. Not many of the soldiers in this picture survived the 8 month campaign. After the Campaign on the Gallipoli Peninsula, the 11th Battalion went on to serve with distinction in France and Belgium from 1916-18. They returned to Australia at the end of the war and disbanded on the 5 February 1919. The Battalion was awarded a Kings Colour for its service during the war which was held in the of custody the Militia 2/11th Battalion. Prior to leaving Egypt, a photograph of more than 800 original officers and men of the battalion was undertaken at the great pyramid of Cheops This picture was taken just before the landing at Anzac Cove during the First World War. Not many of the soldiers in this picture survived the 8 month campaign. This now famous picture of the 11th Battalion AIF at the Cheops pyramid in Egypt in 1915 is shown throughout military history displays and books the world over.Burgundy frame, black mounting, gold writing with a photo of 11th Battalion soldiers standing and sitting on the Cheops pyramid in Egypt. There are seven rising sun badges beneath photo.ANZACS at War. Fall an ANZAC Rise a legend. The 11th Battalion at the Cheops pyramid in Egypt. We will remember - Lest we forget. Limited edition 4438 of 5000.anzac, wwi, world war 1, cheops, pyramid, soldiers

Designed and worked by Miss LongDesign is an Indian girl in colours of pink, orange, blue, black and gold, with some beads. Bright orange mount, dull gold frame.MJLembroidery, panel, machine embroidery, 1960-80, australia

From the estate of Helen Mitchell.Small framed sampler on very fine linen, worked in one thread of red cotton, comprising 2 alphabets, one in capitals and the other lower case. Also figures 1-8, and name of maker. frame is gold wood, mounted on very dark (black?)board with red spacer.Mary Dennett, St Michaels, Pimlicocross stitch, linen, alphabets

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. black cotton treated crown. black cotton exterior band supported by rigid internal rafia band. Has perforated leather sweat band. Rigid visor covered by black cotton fabric. Insignia features a red and black bird in flight, with a depiction in black as background, beneath a royal crown, and surrounded by a golden wreath of feathers. Black mounting. Gold strap above peak on frontNo inscriptions. No markings.peak cap, crown, black, cap badge

Art collection Previously located in History HouseThe painting depicts a large body of water surrounded by tree-covered riverbank. Depicted in shades of blue and grey, the water features patches of brown and blue which illustrate the reflections of riverbank trees. In the foreground to the left of the water is a large tree which extends up to cover the top left skyline of the work. Featured in the background is a dense patch of trees completed in shades of blue. To the right of the water is a dense patch of trees completed in shades of brown and black. These trees reach into a purple and blue cloud-filled sky. The work has a gilded ornate frame with cardboard and gold mount and exposed canvas.Front: A.S. Murray Plaque attached to frame: SCENE on the RIVER MURRAY Back: (no inscriptions)

Seven small pearl buttons with incised thistle design coloured pink and green. Nine small round carved pearl buttons in Rococo style, gold and black colour. Mounted on purple velvet.buttons, late 19th century, diamente, mother of pearl, metal/cut steel

Graham ‘Polly’ Farmer Born: 10/03/1935 From: East Perth (WA) Height: 191cm Weight: 94kg Natural kicking foot: Left Guernsey number: 5 First senior match: Round 1, 1962 v Carlton at Princes Park Many people believe that he became the Cats’ greatest player in his relatively short six-season career. Arriving to play at Geelong in a blaze of publicity at the age of 27, his participation in the 1962 intra-club practice matches attracted unprecedented spectator interest. Despite suffering a severe knee injury in the opening minutes of his first League match, he immediately demonstrated his wide range of skills. He is regarded as the greatest handpassing exponent in the history of football and was one of the first players to use it as a method of attack. Frequently he achieved distances of 30 to 40 metres with hand passes to team-mates in better position. His ruck work was also quite revolutionary. He developed the technique of leaping for the ball slightly earlier than his opponents and gaining a 'ride' higher into the air. Often he would, in preference to a conventional tap-out, roll the ball down one arm and handpass to a team-mate running past He developed this technique with Bill Goggin in particular. Geelong was never out of the finals during his League career Total Brownlow Medal votes: 57 Premiership team selection: 1963 Captain: 57 matches (1965-67) Runner-up in Brownlow Medal count: 1963 (equal) Club Best & Fairest: 1963, 1964 Runner-up in club B&F count: 1966, 1967 Fourth in club B&F count: 1965 Ninth in club B&F count: 1962 (equal) Coach: 1973-75 Australian Football Hall of Fame Legend (1996) AFL Team of the Century selection (ruck) Indigenous Team of the Century selection (ruck: captain) GFC Team of the Century selection (ruck) GFC Hall of Fame inductee (2002) GFC Hall of Fame Legend GFC Life Membership (1974) Career span: 1962-67 Total matches: Premiership 101, Interstate 6 Total goals: Premiership 65, Interstate 6 Finals matches: 9 Finals goals: 2 Last senior match: Grand Final, 1967 v Richmond at the MCG Coach: 1973-75 Information provided by Geelong Football Club Historian Col HutchinsonBlack timber frame with gold inlay, white mounting card, text, black and white photo print, perspex. Black and gold text at the top of the display reads -Geelong Football Club-. More text at the bottom reads -Graham 'Polly' Farmer / Hand-balling through a car window-. The image depicts Farmer wearing a suit and hand passing a football towards the camera through a car window.

Born: London, England 1801; Arrived: Sydney, New South Wales, Australia 1835; Died: Sydney, New South Wales, Australia 1878ColonialBennett Bequest, 1999 Hand-coloured lithograph depicting industrial waterscape with rocky shoreline and ships and buildings in background. Black painted timber frame with off white arched window mount and gold brushed internal window edgeRecto: Not signed, not dated, not titled print, waterscape, sea, harbour, land, figures, boats, tress, sydney harbour, buildings