Trowel was presented to Captain Spark by honourable secretary Mr Charles Dyte on 1/1/1864 to lay the foundation stone of the watchtower and belfrey of the Ballarat fire station. Trowel was made by Mr. Bennett of Bridge street and fashioned on the trowel used by Mr. Fraser M.L.C. when laying the foundation stone of the St. Kilda town hallhand engraved sterling silver ceremonial trowel. engraving is floral design on blade. handle is hollow, octaganol with leaf pattern and greek meander patternHallmarked on underside - emu, "WE" (letters), kangarooballarat fire brigade, captain, foundation stone, trowel, colonial silversmith, silver trowel, captain spark, honourable secretary, mr bennet, sterling silver, charles dyte, dyte, spark, 1864, watchtower and belfrey, tower, watchtower, belfrey

Photo - Bertha Leviny (seated centre) with five of her daughters L-R: Gertrude, Hilda, Mary (standing), Dorothy and Kate. Her grandson James Leviny is at Bertha's knee. The pet dog is an Australian terrier. Bertha was the wife of noted colonial silversmith and jeweller, Ernest Leviny. Together, they raised a family of ten children in their home Buda, Castlemaine. The five unmarried daughters pursued their interests in various creative pastimes linked with the Arts and Crafts Movement of the late nineteenth and early twentieth centuries.One of the few photographs of Bertha Leviny and her daughters taken together after the death of Bertha's husband, Ernest, a prominent Australian silversmith. The Leviny daughters were artistic in their own right, following the principles of the Arts and Crafts Movement. Three of the daughters entered works in the 1907 Exhibition of Women's Work held at the Exhibition Buildings, Melbourne.Silver gelatin, toned print. Black and white photograph of a group of six women, a child and a dog. The women are seated on and around a garden bench with the tennis pavilion in the background. All are smiling at the dog which is standing on its back legs in the foreground. The little boy's face is blurred from movement during the exposure.Handwritten in ink (verso): "At Buda 1906"bertha leviny, mary leviny, gertrude leviny, hilda leviny, dorothy leviny, kate leviny, james leviny, australian terrier dog, kodak box brownie camera, edwardian costume, buda, 1906, photograph, portrait, leviny women, castlemaine

Original design by Dorothy Leviny, aged 25, while she was a student at the Bendigo School Of Mines under the tutelage of Arthur T. Woodward. Woodward, who had come to Australia from Britain, was a renowned proponent of the Arts and Crafts Movement in Australia during the late nineteenth and early twentieth centuries. Dorothy Leviny, along with two of her sisters, entered a number of items in the First Australian Exhibition of Women's Work, Melbourne, 1907, and was awarded second prize for one of her wallpaper designs. Dorothy Leviny was the ninth child born to noted colonial silversmith and jeweller, Ernest Leviny, and his wife, Bertha (nee Hudson).This original wallpaper design by Dorothy Leviny is one of few that remain in existence from the early twentieth century showing the influence of the British Arts and Crafts Movement in Australia.Original wallpaper design made by (Bertha) Dorothy Leviny painted in watercolour. The repetitive floral design consists of pale pink bell-shaped flowers with green stems and leaves. Paper, card, watercolour paint.'D. Leviny /06'.dorothy leviny, watercolour painting, arts and crafts movement, 1906, buda, castlemaine, arthur t woodward, bendigo school of mines, exhibition of womens work 1907, wallpaper design, illustration

This trophy was awarded to William Kermode of Mona Vale for the best pair of Merino ewes exhibited at the Southern Tasmanian Agricultural and Pastoral Society in October, 1879. William Kermode formed the Mona Vale flock in 1829 with VDL C. Saxons. In the early 1870s under Kermode, Ercildoun rams were tried, as was a St Johnstone ram. It is well documented that the famous Steiger-blood ram, Sir Robert (out of a Mona Vale ewe), had considerable impact on a number of Tasmania's influential studs. At its height in the late nineteenth century, Mona Vale was regarded as "... one of Tasmania's leading and parent studs, producing robust fine-wool sheep with quality, long-stapled and dense wool." (Massy 1990: p.406). The first agricultural society in Australia was formed in Hobart on 1 Jan. 1822. The trophy was retailed by Walsh Brothers, Melbourne in c.1875. The cup has no makers marks, but has been attributed by Christie's to Edward Fischer, a local Geelong silversmith. This attribution is based upon stylistic criteria. However, Ms Veronica Filmer of the Geelong Art Gallery (curator of "Geelong's Colonial Silversmiths", Geelong Art Gallery, 1988), has suggested that the lack of stamps is unusual (most of Fishcher's work was stamped) and also that it is somewhat heavy for Fischer's work. The trophy originated from the collection of Edward Clark, an antique dealer. Prior ownership of the trophy is uncertain, but it is believed that Clark purchased it in the mid 1990s from descendants of the original prize recipients.Trophy, sterling silver. Circular, stepped base and tapering stem decorated with cartouches of leaves on a matt background. The bowl of the trophy has an applied belt cartouche with an inscription. Within the belt cartouche is an engraved and embossed panel of two sheep with a cottage in the background. There are ribbon tied floral swags on either side of the cartouche, and a presentation inscription with a beaded border on the reverse of the bowl.SOUTHERN TASMANIAN AGRICULTURAL & PASTORAL SOCIETY Presented / to / Joseph Clarke Esq / and awarded to / W.A. Kermode Esq / of Mona Vale / for Best Pair Merino Ewes, / October 1879southern tasmanian agricultural and pastoral society, logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), fischer, mr edward - silversmiths and jewellers kermode, mr william - mona vale stud clarke, mr joseph, mona vale stud, tasmania

The word “catheter” comes from Greek, meaning “to let or send down.” Catheters were used as early as 3,000 B.C. to relieve painful urinary retention. In those times, many materials were used to form a hollow catheter shape, including straw, rolled up palm leaves, hollow tops of onions, as well as, gold, silver, copper, brass, and lead. Malleable catheters were developed in the 11th century. In time, silver was used as the basis of catheters as it could be bent to any desired shape and was felt to have an antiseptic function. Benjamin Franklin, the inventor and colonial statesman, fashioned silver catheters for use by his older brother John. John suffered from kidney stones and needed to undergo a daily ritual of placing a bulky metal catheter into his bladder. To make these daily requirements on his brother less painful, Franklin worked with his local silversmith on his design for a flexible catheter. "It is as flexible as would be expected in a thing of the kind, and I imagine will readily comply with the turns of the passage," he wrote to John. Holes were bored into the sides of the catheter to allow for drainage. Coudé tip catheters were developed in the 18th and 19th centuries to facilitate male catheterization and continue to be used for this purpose in current medical practice. Catheters made from rubber were developed in the 18th century but were weak at body temperature, leaving debris in the bladder. The advent of rubber vulcanization, by Goodyear in 1844, improved the firmness and durability of the catheter, and allowed for mass production. Latex rubber became available in the 1930s. Dr. Frederic E.B. Foley (a St. Paul urologist) introduced the latex balloon catheter at a urologic meeting in 1935. Though he lost a legal battle with Davol for the patent, this catheter has since been known as the “Foley.” The earliest self-retaining catheters had wing tips (called Malecot) or flexible shoulders (called Pezzer), and were tied to the male penis or sutured to the female labia. Charriere’s French scale was used to describe the external diameter of a catheter. Thus the term “French (Fr)” size was coined. Joseph-Frederic-Benoit Charriere was a 19th century Parisian maker of surgical instruments. A 12 French catheter is approximately 4 mm in external diameter (0.33 mm = 1 French [Fr]). In French-speaking countries, these catheters may be referred to as the Charriere or abbreviated Ch. Catheterization of the bladder was felt to be fairly safe because of the antiseptic principles of Lister (1867). But many physicians continued to be concerned about catheter-related infections as patients were still developing “catheter fever” (systemic infection) despite antiseptic principles. After World War II, Sir Ludwig Guttman introduced the concept of sterile intermittent catheterization in patients with spinal cord injury. For many years, sterile technique was used for catheterization. In 1971, Dr. Jack Lapides of the University of Michigan at Ann Arbor introduced the clean intermittent catheterization (CIC) technique. Dr. Lapides’ theory was that bacteria weren’t the only cause of infection. He believed that chronic stagnant urine residuals and overstretching of the bladder were also responsible. But the fact that CIC was not performed in totally sterile conditions, Dr. Lapides still felt it was superior to indwelling catheters. Initially, Lapides was scorned in the urology world. Three decades after this debate, clean intermittent catheterization remains the preferred method to treat chronic urine retention and neurogenic bladder. Recent regulatory changes have recommended against the reuse of catheters for CIC in an attempt to further reduce the risk of catheter-associated urinary tract infections. https://www.urotoday.com/urinary-catheters-home/history-of-urinary-catheters.html This catheter was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community. They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Stainless steel catheter with hollow tip from W.R. Angus Collection. Top and end of this instrument screw together. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, department of defence australia, australian army, army uniform, medical treatment, medical history, medical education, catheter

This butter or cheese knife is a decorative example of electroplated cutlery that had become an affordable alternative to more expensive silver cutlery in the late 1800s to early 1900s. The knife has stamp marks in the back of its handle that are a combination of letters and symbols used by British silversmiths to identify their workmanship. The design and type of this knife was not normally used by everyday people but rather those of a higher social class with time and money to have a particular decorative knife to serve butter or cheese. The marks on the handle tell that it was made of nickel silver, and electroplated with superior quality Stirling silver. The Barker Brothers of Birmingham made the knife between 1885 and 1907, but most likely before 1895. It was made for the British, or British colonial, people, connected with a government department such as the navy or defence. This story may be slightly inaccurate, as some silversmiths added extra ‘pseudo marks’ to their wares to disguise the quality. THE MARKS and their meaning – - ‘A1’ The silver used in electroplating this knife was the highest level, ‘superior quality’, measured in grams of silver per table spoon or table fork, with ‘A1’ being 2 2/3 grams, and ‘D’ being 0 1/2 grams of silver. - ‘BB’ The Baker Brothers used these initials from 1885 to 1907. - ‘[crown symbol]’ – This symbol is used for Sterling silver but this knife is a metal alloy. The crown is also the town mark of Sheffield (appointed by the Sheffield Assay Office) but this knife was made in Birmingham, which has the town mark of an anchor. The Barker Brothers may have added the crown mark to this electroplated silverware as a ‘pseudo hallmark’, leading the buyer to think that it was actual Sterling silver. The use of pseudo hallmarks by electroplaters of the Victorian era was common practice but it was illegal. In 1895 the unlawful practice was seen as imitating the Sheffield Silver Mark and the law was firmly applied to eradicate the deception, so items with this mark probably date before 1895. - [EPNS] Electro Plated Nickel Silver, called nickel silver or German silver, is a metal alloy that usually combines copper, nickel and zinc (60 percent copper, 20 percent nickel, 20 percent zinc). It has a silver-white appearance and is sometimes referred to as ‘white ware’. It does not contain any silver but is often used as a base for electroplating, when the item is covered with a thin layer of silver to give it the polished appearance of pure silver. It became popular in the late 19th and early 20th century as an affordable substitute for sterling silver. - Broad Arrow - an official stamp that indicates it was once the property of Britain government, either in Britain or one of its colonies, and used in the defence force. In Great Britain, from an 1875 government act, it was, and still, is a crime to forge or wrongfully use, the broad arrow symbol. The BARKER BROTHERS of Birmingham - Barker Brothers were one of the earlies firms of Birmingham silversmiths, established in 1801 by Mary Barker. They became Barker & Creed, then William and Matthias Barker, then from 1885 they were the Barker Brothers. They were operating in Paradise Street in 1871 until in 1903 they moved to Unity Works, Constitution Hill, in Birmingham. The firm also had a showroom at 292 High Holborn, London, from the early 1900s to the 1980s. In 1907 the firm became Barker Brothers Silversmiths Ltd, then in the 1960s they merged with Ellis & Co, becoming Barker Ellis Silver Co. Ltd. In 1979 they were registered in USA as Ellis & Co., Barker Ellis, and Ellis Barker. The business went into administration in 1992, after almost 200 years of production. The firm advertised as specialists in electroplating, and used the trademarks BRITANOID, UNITY PLATE and THE HYGENIA.This knife is historically significant, dated from 1885 to 1907 but most likely pre-1895, and made by the longstanding Birmingham silversmiths, the Barker Brothers, established in 1801. The knife is an example of decorative flatware used by people of ’class’. It also has the broad arrow stamp, connecting it to the British government, in particular the ordinance department. The stamp also connects it to other items in our collection with that stamp. It may have been connected to pre-Federation government organisations and officials such as the army Garrison, government naval vessel, police, lighthouse keepers, harbour masters. The knife is the only example of its kind in our collection, being a decorative silver butter or cheese knife, made by the Barker Brothers of Birmingham. Butter knife, or cheese knife, electroplated nickel silver (EPNS). Upper blade edge has decorative shape and engraved motifs, lower blade edge is bevelled to a cutting edge, and narrow plain handle flares out to a wide, rounded end. Maker’s marks are stamped on the reverse. Made by Barker Brothers of Birmingham in the late-19th century. Stamps: “flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, butter knife, cheese knife, electroplate, electro plate, nickel silver, nickel alloy, alloy composition, copper nickel zinc, german silver, epns, barker brothers, birmingham, london, silversmiths, victorian era, 19th century, a1, bb, crown inside square, broad arrow, flatware, tableware, cutlery, cutler, dining utensils, eating utensils, superior quality, pseudo hallmark, stirling silver, silver-white metal, mary barker, barker & creed, william barker, matthias barker, barker brothers silversmiths, barker ellis silver co, ellis & co, barker ellis, ellis barker, britanoid, unity plate, the hygenia, british, colonial, government use, defence department use, naval use, knife, serving knife

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The leaf shaped motif of this particular spoon appears to be stylised in a simple form of decorative arts and craft or even Art Nouveau style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards. According to Christine Erratt, due to the goldrush in the 1850's, there was increased wealth in the colony and an influx of immigrants from Europe to Australia who brought with them silversmithing skills which began ‘the golden age’ of Australian silver', Erratt says that 'Australia's unique flora has been portrayed in the decorative arts since the early colonial times of the last decade of the 18th century. The use of Australian flora to decorate silverware is of particular interest and diversity'. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. There are no discerning maker hallmarks to place where it was produced or ascertain the material accurately.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. A tarnished small silver teaspoon with leaf-shaped head and slim handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen

Decorative object made by Ernest Leviny probably to sell in his jewellers and watchmakers shop in Market Square Castlemaine.Silver mounted emu egg goblet with gold-wash interior and cast emu figure on lid. Silver stem has elaborate scrolled ribbon design and cast decoration topped by four heads of the god Pan. Filigree silver design of grapes and vine leaves above base. 'Egg' rests in 'cup' of filigree feathers/shell and acanthus leaves. Lost wax casting method used.Noneernest leviny, silversmithing, colonial silverware, decorative arts, natural history specimens, ornithology

Decorative object made by silversmith Ernest Leviny.Silver mounted emu egg goblet with detachable silver lid decorated with a kneeling Aboriginal figure holding weapons (spear is missing). Emu egg is mounted on a silver base with filigree acanthus leaf designwork on the stem, leading to four sprays on the egg surface with a rose, thistle and shamrock design. The inner egg is lined with a gold wash.Noneernest leviny, silversmithing, colonial silverware, castlemaine, emu egg goblet, buda, c 1859

The Silver Standing Cup was made by Ernest Leviny c1860 and presented to Mr Charles Abraham Saint, editor of the Mount Alexander Mail newspaper, by the town's citizens on his departure from Castlemaine on 31 December 1863. Mount Alexander Mail report; 23 January 1864. This substantial silver centrepiece was the second masterpiece created by Ernest Leviny around 1859. It is decorated with highly detailed cast figures, fine embossing and chasing. This work of Australian Colonial significance reflects Leviny's rich European artistic background which he successfully merged with new Australian motifs, which epitomise the great wealth, ambition and pride at that time in the emerging, young Colony of Victoria.Semi matt surface albumen print mounted on cream coloured card with border around image drawn in pencil. Albumen photograph of Silver Standing Cup (Eperne). Elaborate silver cup, with lid highly decorated with cast figures, etc.Handwritten in pencil under image: I.1 'Photo Davies & Co' I.r 'Melbourneernest leviny, silver, silversmithing, cup, london exhibition 1862, mount alexander mail, william davies, photograph, charles a. saint

Original jewellery design for 'Britannia' pendant by Ernest Leviny, designed when he was living in London c1851, before travelling to the Australian goldfields of Castlemaine in late 1852. Leviny and his partner, Frederick Boocke, supplied jewellery designs to Watherston and Brogden in London. This design was made into a pendant by another London company, S.H. & D. Gass and was awarded a prize medal at the Great Exhibition of 1851 at the Crystal Palace in London. Leviny brought many of his original jewellery designs with him when he came out to Australia from Britain. See Schofield, Anne & Fahy, Kevin (1991), 'Australian jewellery: 19th and early 20th century'; Woodbridge, Suffolk, Antique Collectors Club, p. 39; Gere, Charalotte & Rudoe, Judy (2010), 'Jewellery in the Age of Queen Victoria', Pub.The British Museum p.340.This original jewellery design for the 'Britannia' pendant by noted colonial silversmith and jewellery, Ernest Leviny, is significant due to its link with the 'Britannia Pendant' awarded a prize medal at Great Exhibition of 1851, held at the Crystal Palace in London.Original jewellery design for a pendant featuring a standing woman (Britannia) holding a trident in her left hand and possible oar in her right hand, with Gothic style ornate pillars on each side and an archway overhead. Beneath the figure are three pearl drops. Drawn in pencil on grey card with gold ink highlights and red watercolour tinting.ernest leviny, jewellery, design, illustration, brittania, 1851, great exhibition of 1851