This teal coloured bottle (blue-green, non-olive) has been handmade from about the 1840s-1870s. The bottle, possibly used to store soda or mineral water, was found in the coastal waters of Victoria about 100 years from when it was made. It is part of the John Chance Collection. The teal, or blue-green, colour of this bottle’s glass is reasonably rare. The colour is probably the result of a combination of cobalt (blue), iron (yellow-orange) and chromium (green) that may have been in the raw silica, or perhaps added to the glass sand before making the glass. Glassblowers made bottles like this one by blowing air through a long pipe into the molten glass blob at the end of the pipe. The glass was blown out to fit into the shape of the cylindrical dip mould. Once it hardened, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck while carefully using a tool to hold the base. A ponty tool was used to complete the shape of the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be wrapped around the top of the neck and shaped to finish the lip of the bottle, sometimes using a tool to do this. The seal was usually a cork, often held in place with wax or wire with tape over it to seal the aerated drink inside. The gutter between the upper and lower lip was used to anchor the seal. This style of handmade bottles would often have horizontal bubbles in the applied finish, caused by twisting the glass, and vertical bubbles and diagonal lines in the neck and body from it being blown, and a mark in the base where the ponty tool had been attached. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of handmade, mid-19th century bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is significant for its rarity, as its teal, blue-green colour is unusual. It is a valuable addition to our collection of 1800s handmade bottles. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; unusual dark teal (blue-green, non-olive) opaque glass, medium size, cork-top style. Handmade with applied double-collar lip with straight side upper and a ring lower. The edge of the mouth is uneven. Neck is slightly bulbous. Body has shoulder seam, then tapers inwards to base, shallow base. Heel is uneven width. Base is shallow with glass of different density. Bubbles in the body and an elongated bubble at base of neck. Sediment inside bottle. Chip in lip. Scratched surface.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, green glass, blue-green glass, teal glass, non-olive green glass, dip mould, soda bottle

The Rainbow Bee-Eater is native to Australia, living across the mainland, except in desert areas. Male and female birds are both brightly coloured, the primary difference being the length of their tail streamers. Male Bee-Eaters have longer streamers than the females. They are insectivores and use techniques to remove threats to themselves; eg. they will remove wasp's stingers to avoid the poison. They nest in sand and dig a long tunnel, at the end is a 'chamber' where they lay the eggs. 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 Rainbow Bee-Eater is a uniquely beautiful species of bird with strikingly bright colouring. The plumage is green, blue, chestnut and yellow. The build of this specimen is small and graceful and the bill is slender and curved. This Bee-Eater has two distinct streamers that extend from the base of the tail. The glass eyes provided to this specimen are dark black in colour; however, in life, this specimen has red eyes which contrast with the black stripe of colour that is located from the base of the bill to the ears. Below the black stripe, is a smaller pale blue colour. The throat is orange-yellow and the breast is green. The tail is black with a blue tinge to the plumage closer to the rear of the torso. The colouring on this particular specimen has faded significantly, but it provides a good example of what this specimen looked like while alive.Label: 5a / Australian Bee-Eater / See catalogue page 7 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, rainbow bee-eater

The Blue-faced Honeyeater is commonly located in northern and eastern mainland Australia. It is also found in Papua New Guinea. This species prefer to reside in tropical locations or those which are sub-tropical and wetter temperate or semi-arid zones. It can be located in open forests and woodlands close to water. Due to these locations along with it's propensity for feeding on the fruit and flowers of the banana in northern Queensland, this species is colloquially known as the "Bananabird". These birds commonly reside in pairs, family groups or small flocks. They can often be found socialising with other species including the yellow-throated miner and the Little Friarbird. The Blue-faced Honeyeater feed on insects and invertebrates, but also may eat nectar and fruit from native and exotic plants. 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 blue-faced Honeyeater is large in size with bright white and black colouring. The bird also has golden olive-green colouring on it's rear, tail and wings. Around the eyes is strikingly blue coloured skin which has faded significantly on this particular specimen. It also has a pair of glass eyes to replace the original which do not survive the taxidermy process. There is a patch of dark colouring on the plumage of the stomach and neck of the bird. This dark batch is surrounded by white plumage which also forms a white band across the back of the neck. This specimen is stylized placed on a wooden mount. The bird's feet are attached to a thin stick and the stick attached to the mount.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, honeyeater, blue-faced honeyeater

Glass bottles were refillable until the 1960s, creating a demand for their collection and onsale back to beverage manufacturers via ‘bottle merchants’.A clear glass bottle with fluted patterns around the shoulder and base. It has a blue/green tinge. The top seems to be made for a cork stopper.This bottle is the property of On the base - AGM Studley Preserving Co Pty Ltdstudley-preserving-co bottle container cordial

Inkwells were generally more decorative than ink bottles and designed to be more permanent.We have mostly dispensed with ink bottles and quills. This item is an example of early stationery equipment commonly used in schools, households and commercial enterprises.Three glass inkwells. .1-blue tinted with broken top. .2 green tinted broken at top. .3 clear glass with symmetrical design.inkwell writing-equipment glass domestic-item

Australia was not self sufficient in glass making until the turn of the 20th century and many bottles were made overseas and shipped to Australia with their contents and when emptied were re-filled with other company’s products. These bottles have an aesthetic element in that the shapes , colours and textures are visually appealing. They reflect the type of glassware that was used for food containers in the early 20th century. Moulded baby food bottle. Squat and round with green glass stopper. Moulded writing on front. The thick glass has a slight blue-green tinge to it.Bottom -M4 Front- Mellin's Infants' Food, LOndonbottle glass food -container

This one appears to be Model 27 from the early 1950's. This radio was last used in the Office at the Soldiers Memorial Institute most likely pre 1990's.Radio, ASTOR brand, brown Bakelite frame, the glass face has two control knobs. The top line of stations covers Victoria to Tasmania followed by NSW, QLD & SA. At the bottom is 3 bands in red, blue, light green which cover Europe, USA. On the rear are two stickers relating to power, patents, use and licencing.1st sticker on rear, "Selex Decal Pty Ltd - No 5 - 217540", 2nd sticker, "Danger"brsl, smirsl, radio, astor

No information is available on this particular bottle. The hand-painted flowers may have been added by the owner after purchase. Painting on glass was very popular in the 1880s and 1890s. Perfume bottles were carried by ladies to use when the odours of the surrounds were objectionable or when they needed to freshen up on a journey. This bottle is of some interest as an example of the items carried by a woman in the late 19th and early 20th centuries. It is useful for displayThis is a small glass perfume bottle with a rounded bottom and a silver-coloured metal stopper. The hinged stopper has a chain attached with a metal ring for attachment to a belt or purse. The top of the stopper has an ornate etching on it. There are hand-painted flowers on the side of the bottle (white, orange, green and blue)perfume bottle, warrnambool, 1880 perfume bottle

The Cutty Sark sailing ship was a popular model-making ship. It was a British clipper ship built originally for the China- England tea trade and was one of the last and fastest tea clippers. From 1883 to 1895 it was used to carry wool from Australia to England and held many records for speed during that time. Since 1954 the ship has been on display at Greenwich, England. The model has an etched inscription indicating that it was made by Herman Richter and so it is presumed that he was the maker of this model. A model of the Cutty Sark was made by his father, Edward Richter using wood from the Enterprise wrecked in Lady Bay and that model was in the old Warrnambool Museum. This information was in a newspaper article at the time of Edward Richter’s death. This Herman Richter model may be a copy of his father’s model. The Richters have been prominent in Warrnambool’s history, beginning with Henry Richter who came to Warrambool in the 1850s and worked in the Western Brewery and was licensee of the Royal Archer Hotel. His son Edward who died in 1937 was a prominent Warrnambool resident for 78 years. Herman, the son of Susan and Edward Richter was well-known as a model boat maker and maker of model boats in bottles.This model boat is of great interest because the ‘Cutty Sark’ was a well-known sailing ship and was important in Australia’s maritime history as a carrier to London of Australian wool in the 1880s and 90s. It is also of interest as it was made by a member of the Richter family, a prominent one in Warrnambool’s history with both Edward and his son Herman Richter producing many artefacts connected to Warrnambool’s history – model ships, violin-making, maritime paintings etc. This is the model of a three-masted ship with a hull painted in green and black with gold bands. The ship is mounted on a wooden stand and enclosed in a wooden box with a glass front. The box is varnished and has ornamental patterns in gold and blue on the top and sides. The inside of the box is painted blue and white to represent the sea and the sky.‘Cutty Sark 963Tons by H Richter 1964’richter family, warrnambool, model boat building

Certificate issued by "California Gully Mechanics Institute/10th June 1946/ From the Citizens of California Gully.Photograph - colour photograph, half portrait of a soldier in uniform. Certificate beside photograph - in colour at top Australian Coat of Arms with two flags. print in Navy blue and brown ink. Three service badges illustrated. Frame - timber with marble effect paint finish, gold trim. Mount - Cardboard, dark green colour. Glass front. Backing - Cardboard.Handwritten in black ink on Certificate "Craftsman W. G.Wrights".framed items, certificates, ww2

Banners - BCOF - British Commonwealth Occupation Force (Japan) 65/66/67th BTNs Formed in the islands from the 7th Division AIF for service in Japan 1946 - 48.1. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND BLACK WITH GREY SURROUND.. 2. BANNER FRAMED, COTTON FABRIC, DARK BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, OFF WHITE INSCRIPTION, COLOUR PATCH CENTRE, GREEN AND PURPLE WITH GREY SURROUND. 3. BANNER FRAMED, COTTON FABRIC, BLUE BACKGROUND, GOLD COLOURED TASSLE FRINGE, WHITE EMBROIDERED INSCRIPTIONS, COLOUR PATCH CENTRE, GREEN AND BROWN WITH GREY SURROUND. 1,2,3, Frames - timber, black colour print, glass front, cardboard backing.White embroidered letters and numbers - 1, "65 BTN. ROKU JU GO" Fabric letters and numbers - 2. "66 BTN. ROKU J.U. ROKU" white embroidered letters and numbers - 3. "67 BTN. ROKU JU NANA" military, ww2, japan, banners

Framed banner on stand. Frame - timber with decorative detail, brown stain with glass front, frame attached to timber stand. Feet supporting frame with piano hinge and chain. Mount - green felt Banner - blue silk like background, with embroidered foliage, flowers, building and inscription in colour. Yellow silk like fringe.Handwritten on back of frame "Made by M. Bowles. Feb. 1993" Embroidered on banner "Souvenir of Holyland/Mosque of Omar/1941"souvenir, wwii, middle east

Framed memorabilia of "WORLD WAR ONE /THE ANZAC LEGEND". Frame: Moulded timber frame, dark brown, coloured with gold painted inner edge. Glass front. Mount: dark green cardboard with gold inner individual mounts. Memorabilia: top - a colourised black and white photograph depicting a large group of soldiers on a pyramid. Middle: Collection of black & white photographs of various ANZAC locations. Lower section: Service and Bravery Award medals with two Rising Sun badges.Gold coloured information label within the mount with the heading "WORLD WAR ONE"AND "THE ANZAC LEGEND" with black printed information on back of frame - handwritten, blue felt tip pen "DONATED TO BGO RSL/ BILL YATES" .framed memorabilia, ww1, anzac

Item was given to M E MONIGATTI who was a POW in Germany in exchange for a sandwich by a German soldier. Ref Cat No 3562 for his service details..1) FOB Watch, round, face is intricate with inlays of silver, coloured flowers blue / red / green around numbers. Face has small second hand. Rear opens, inside inscriptions. .2) Metal case to suit watch with glass face, inside has red felt lining. Swivel ring at top..1) Wording appears to be: “Resnontow cylinder 10 Reelis, 22652” .2) Wording appears to be: “BRAVO”accessory, watch, fob

Certificates presented to Alfred Edward BOLAND between 1942 - 1946. Refer Cat No 2473 for his service details.Re Alfred Edward BOLAND. .1) Coloured certificate on blue background under glass in a wooden frame. .2) Cream background with black print, green surround, glass covered in a wooden frame. .3) Cream background with black print, green surround, glass covered in a wooden frame..1) Service Recognized by St Marks Church of England, Golden Square. .2) Certificate of Service of an Officer. .3) Australian Military Forces Warrant Issued 20.2.1942.promotion, service, recognition

Framed print of an original oil painting by Allan Waite FRAS, AWI - 1997 of The battle of Long Tan 18th Aug 1966, Print of painting - coloured scene of "The Battle of Long Tan" depicting various infantry and artillary during the battle. Frame - timber with decorated edge, mid brown colour stain - glass front. Mount - dark green coloured cardboard.Black print below print ÄLLAN WAITE, FRAS, AWI, 1997/ THE BATTLE OF LONG TAN/ 1st AUGUST 1966/ Print Number ...... of 150. Blue print below print copy of signature "Allan Waite".illustrations-prints, framed print, battle, vietnam

Refer Cat No 172, 173 for service details.Timber frame, mid brown with glass front. Dark green mount. In Memoriam Certificate decorated in grey, silver print, flowers & leaves, red & blue crossed flags. Red paper common seal of the Shire of East London at lower right. Oval shaped black & white photo, portrait of a soldier in uniform inserted in a frame within the certificate at lower left. Some of the print appears to be hard printed.“Bmdr A.J Dalziel 3rd Div Trench Mortar Battery. Died in France 24th Feb 1916. Aged 24 years. Signed by Shire of East London, President & Councillors”documents-certificates, frame accessories, shire seat loddon, dalziel

Items worn by George Henry Fullerton to the 1990 ANZAC 75th Anniversary Commemoration. Refer Cat No’s 4069.2 for service details also 4070.Gallipoli Coat and Tie mounted in wooden frame with glass cover. Frame: Timber with decorative edge, brown coloured stain, glass front. Mount: Green cardboard with deep recessed between dark green and light green. Gallipoli Coat: dark green fabric with gold buttons and pocket patch with gold embroidery. Tie: Navy blue fabric with gold, green and red embroidery. Shirt: white business shirt.Embroidered on pocket patches - Rising Sun emblem "GALLIPOLI/1915 - 1990". Embroidered on tie - Rising Sun emblem "GALLIPOLI/1915 - 1990". White label on glass with black print - "COAT AND TIE/ Donated by/ A.J. Fullerton"uniforms - army, trades -carpentery, ww1

Painting is mounted with light blue border in a brown wooden frame with glass front, cream paper backing & a wire hanging strap. Water colour painting of a warship at sea. The ship is grey with 4 twin main gun turrets. It also holds an Albatross Aircraft, 2 funnels & 2 wireless masts. The painted sky shows patchy clouds, the sea is a blue green colour with small white waves. HMAS Perth Artist Ray Parkin 1948hmas perth, ww2, ran, paintings

FRANK THOMAS DUNPHY No 4485 enlisted in the AIF on 12.7.1915 in 14th reinforcements to 6th Batt age 22 years. Embarked for Egypt 28.1.1916, embarked for France 29.3.1916, hospitalised 7.9.1916 with varicose veins, while recovering was hospitalised again with mumps. Returned to unit 19.2.1917, WIA 5.10.1917 with GSW’s chest & right arm - severe, returned to Australia and discharged medically unfit on 1.10.1918.Frame. Timber, cream painted with glass front. Certificate. Black, white, blue, red & yellow ink, hand written certificate on beige paper. Battalion colour patch at the top & RSL badge at bottom with printed blue ink: 28th Day of October 1964. "From 6th Battalion AIF Social Club Bendigo - To Frank Thomas Dunphy Esq" Signed in black ink bottom RH: "Les Bennetts- R C Wright - W Green"documents - certificates, frame accessories, military history

Starboard side light with fresnal glass lens with removable blue/green filter, oil/kero burner with reflector inside. Made by "Tung Woo Hong Kong No. S1477", rounded front and 2 flat sides, bracket on one side for hanging. H 57.5cm x D 35cm.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lamp, starboard side light

UnknownAbstract composition of 24 circles, evenly spaced across image. In orange, yellow, brown, green, blue and white, with each alternate circle taking on aspects of the colours beside it. Set in dark blue background. Mounted in dark green matt. In wooden frame with glass glazing.Front: (no inscriptions) Back: "Eclipse 3" Neville Touzeau $40 '72 Touzeau 276 (lower right)(blue pen) Touzeau (black felt pen) Flight IV 50 Touzeau (blue pen, scribbled out in blue felt pen)

CEMA Art Collection Previously located in History HouseThe painting depicts a large stone building with two smaller buildings in the foreground. Within the foreground is a small patch of dirt and grass with a side view of a small building to the right and a front and side view of a small stone building to the left. In the background is the large building which features two chimmneys. To the left of the building is a leafless tree and pale blue sky. The work has a gold and green frame with glass.Front: "GREENMOUNT" (brown, lower left) TRAVIS WEBBER (brown, lower right) 23 (white sticker attached to glass Back: (No inscriptions)

Winner of Portland Art Society Art Prize for the category of watercolours.An abstract depiction of a landscape. The work is predominantly completed in shades of blue, purple and green using a watercolour technique. Further detail has been added to the work using black ink ink and white paint. The work has a painted wooden frame with with white mount and glass.Front: Stephen Spurrier (black ink, lower left) 1966 Back: Stephen Spurrier "Landscape Near Condah" (1967) typed label Watercolourscema, portland artists society

UnknownAbstract scene of a rainforest. Foreground depicts a stand of trees. There are several mountains in the background, set against a blue sky with rays of sun falling on a central mountain. Predominant colours for trees are green, yellow, brown and black. Mounted on cream matt in pale green frame, with glass glazing.Front: Enid Denton (lower right) (brown paint) Back: Rain Forest $600.00 Enid Denton, Smith Avenue, Croydon 3136cema, portland artists society

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)

Glass framed photo of the HMAS Maryborough insignia. Naval gold coloured crown with blue, red and green jewel inserts located above a gold coloured plaque. The plaque has a gold coloured edge with a gold coloured pig on a blue background on the left, a picture of a building with a frame tower on a red background located on the right, and a picture of trees on a white background located on the bottom. At the bottom of the picture is a gold edged blue ribbon with the words HMAS Maryborough in gold lettering.

UnknownViews of different aerobic exercises being conducted by a man and a woman. Each exercise takes place in a diferent square, totalling 12 squares in all. Each square is coloured alternately in apricot and pale blue. The man's pants are green, and the woman's top is red. No matt. Framed in black frame with glass glazing.Front: 15/60 Androgynous Aerobics [or which end of the toothpaste do you squeeze] V. McConville '83 (across lower centre, left to right) (pencil) Back: (no inscriptions)

Included in the 1999 "Salvage" Exhibition at CEMA Arts CentreThe painting depicts numerous leaf-less trees in the moonlight. The trees are painted in shades of brown, black and cream with the main focus on those in the centre foreground. The surrounding trees are completed in darker shades and are hazy and out of focus. The glow of the moon is depicted in white which dissipates into the dark blue/green sky. In contrast to this, a burnt orange is used as the background for the trees. The work has a gold and black frame with no mount or glass.Front: 67 PRO HART (black and gold paint, lower corners) Back: PRO HART "UN-NAMED" (1967) Donated by the Artist (typed label) White Sticker: 2 (in a circle)

Depiction of a bridge over a creek edged with trees. On left are the branches of a tree with grey-green leaves. The creek fills the lower centre area of the image, painted in pale blue, grey, highlights of white and darker areas of dark blue. The wooden rail bridge curves in an even arch in centre of image. On right is a bank rising from the creek, with large tree with pale grey-green foliage and a tree with darker olive foliage. The background shows what could be hills and the sky is very pale blue. Mounted in a double matt (white on orange), framed under glass in wooden frame with gold details.Front: Phillip Petrie 90 (lower left) (grey paint). Back: "Langley's Bridge" watercolour. 570 x 420 mm $150.00