These baskets were used to store dresses for travelling eg. to Melbourne or Albury either by train or on a coach, a carriage or on the back of an early motor car (eg. on the dicky seat - an upholstered exterior seat) Owned and used by Clare Roper's mother in 1900. Clare lived on a farm in the Kiewa Valley. The Roper family was one of the early settlers of the Kiewa Valley Two wicker, rectangular baskets, one big and one small held together, one on top of the other, by a leather strap and handle. Both baskets have a close fitting lid that goes all the way down to the bottom thus re-enforcing the sides by doubling them.The handle has an ID tag attached.The tag has "Albury" printed / scratched on it.travel baskets, dress basket, roper family

Used as a dress basket. From the estate of Elsie Cook, long term librarian in Orbost. Daughter of John Cook, early settler at Brodribb.Rectangular shaped woven basket.basket cook container

A photo taken at the parade held on 29 September 1985, in conjunction with the flower show, commemorating the 150th anniversary of Major Mitchell's visit There was also the unveiling of a plaque commemorating the Wildflower Show and its many volunteers.The photo is a close-up of a young girl in period dress holding a basket containing sprigs of thryptomeneevents, parades

Amey Cook, infant daughter of William Cook and Jane nee Maggs.Sepia mounted photograph of very young dark haired child (2-3 years of age) sitting on a padded chair holding a basket. White dress and socks, dark boots.cook, amey

In 1895 Arthur Yates wrote the first Yates Garden Guide, a basic gardening book that is still published today. This is an early example of a book commonly used as a gardening reference tool.A soft covered book, titled "Yates' Garden Guide". "YATES' is in red print and the rest in blue. In the centre is a circular picture of a smiling woman in a V-necked check dress holding a basket of colourful flowers. Below this on the right is "1952 25th EDITION THOROUGHLY REVISED Price 4/6" . On the left are details of the publishing company.gardening book-garden-guide yates

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

This work was reproduced from the original artefact, and remains as true to the original work as possible.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. Hardback with brown fabric which is torn and stained. Embossed border and small flower design in black ink. Title embossed in gold. Fraying around the edges and spine. 168 pages.fictionreligion, moral tale, social order

This is part of a parade held on the main street of Halls Gap in conjunction with the 150th anniversary of Major Mitchell's visit to the area. The photo shows two young girls wearing flower patterned dresses, frilly hats and shawls standing on the edge of a road. The front girl is offering flowers in a straw basket to people lining the street. A Toyota land cruiser with people dressed in what appears to be park ranger or scout uniforms standing in the tray is driving down the road and an old car can be seen behind that. People and cars line the far side of the road and trees can be seen behind them.events, parades

The two girls in the photo are Jenny Reid (left) and Christiana Baulch (right). The photo was taken at the parade held on 29 September 1985, in conjunction with the flower show, commemorating the 150th anniversary of Major Mitchell's visit There was also the unveiling of a plaque commemorating the Wildflower Show and its many volunteers.The photo shows two girls dressed in old-time costumes holding baskets of thryptomene. A crowd of people can be seen in the background.events, parades, events, wildflower show

The book, awarded to Ethel Henderson in 1903, from Christ Church, Warrnambool is an example of a Sunday School prize given to children attending Sunday School at the time. Christ Church Anglican Church was one of the early churches in Warrnambool.The Puzzle Picture Book is a rare 'movable' children's book from 1900. It contains 6 chromolithic dissolving scenes (also called slats/transformations). It is unusual due to its educational content. It was published by Ernest Nister in London, E F Dutton & Co in USA and is also thought to have been published in German under the title 'Ueberraschungen Aller Art'. [source: The Little Book Store]Child's picture book with full colour cover depicting a mother dressed in long white spotted dress, white apron, white bonnett and black button-up shoes, sitting on a wooden armchair while dressing a young girl's hair with pink flowers. The girl is dressed in a pink frock with puffed sleeves and frill around the hem, and cream apron. She is looking in a brown wooden-backed hand mirror. A woven straw basket with pink roses sits on the floor. A framed silhouette picture is on the wall. The title is in a display typeface mimicking rose stems; a swag of pink roses decorates the top right hand corner. The publishers' names are printed on the bottom left and right hand corners at the bottom, and the printer in the centre. The inside cover has a book plate. The title page shows two boys arguing over the book. The verses are by Clifton Bingham, the pen and ink illustrations by Hilda K. Robinson. The story has a monochrome page with rhymes opposite a colour page with cut-out boxes showing four small pictures, each with a question. By pulling the tab at the bottom of the page the answer to the questions is revealed. There are six chromolithic 'dissolving scenes'.Book plate: Christ Church. Sunday School, Warrnambool. 1st Prize Girls Class II. Awarded to Ethel Henderson. S M George Vicar. Warrnambool, May 1903children's picture books, ethel henderson, children's picture books, puzzle books, christ church anglican church, sunday school prizes, ernest nister london, warrnambool, ethel henderson, e f dutton & co new york

Cabinet Portrait of Three Girls. The girls are wearing the same type of dress/uniform. Two girls are seated and one is standing behind them. Of the two girls seated, one is wearing above ankle height lace up boots, and the other is wearing the same length button up boots. All the girls have something in their hands, the one at the back has some flowers, the one on the left has a skipping rope, and the one on the right has a basket of flowers.F. Stubbs, St. Arnaudphotograph, portrait, female group, portrait of three girls, f stubbs st arnaud

black and white photograph. Bennett's Arcade, south end looking nth. Boy with pushbike, back of male figure, elder lady with shopping bag, dressed in hat, jacket with flower. Male and female both wearing hats and jackets. Various items of hardware, baskets, suitcases, etc. Tiled floor. Bottom R H S U1 593-10 on back A DONEYA. Doneyplace, arcade, bendigo

Black and white photograph of Bennett's Arcade. Clock face up high at rear with policeman's face on dial., Taubmans paint sign under. Baskets, garbage bins, lawn mowers, enammelled cast iron pots. Various other hardware. Adult male in sports coats, jumper, shirt and tie holding hand of small girl in dark coat with beret, lace up shoes. Female in background with hat, overcoat. Female figure in foreground dressed in long coat with flower on collar, scarf, hat. Small boy in double breasted coat, cap and lace-up shoes. Patterned, tiled floor. C. Bennetts Arcade in ink on rear of photo.A. Doneyplace, arcade, bendigo

Six assorted postcards with various themes : (a) Painting of a young lady with a blue dress and hat , (b) Young lady carrying a flat basket of Roses , (c) Loch Leven , (d) Truro Cathedral , (e) Miss Nellie Stewart , (f) Painting of a lady in a very ornate costume and a small child catching Butterflies.postcard, various themes, loch leven, truro cathedral, nellie stewart

Irregular shaped white, embossed card with floral and geometric design. It has a blue edge. In the centre is a coloured sticker with a lady and a girl outside their door. The lady has a red skirt, white apron, brown blouse & shoes, and a blue scarf on her head. She is holding a blue bottle. The girl has a pink skirt, white blouse & apron and a blue vest. She is holding a basket. There is also a hen and a rooster in the picture. Above the picture is a gold circle with an eight pointed star inside it. Below the picture is a gold and white sticker with 'Dearest I am Truly Thine Own' printed in mauve. Inside the card is some dried fern held in place with a sticker . It has a girl wearing a red dress sitting down and a brown and white dog sitting beside her.person, greeting cards, malone collection, malone collection, greeting cards

Photograph. Sepia photograph of Gertrude Perry in costume for her performance in musical Wildflower. Dressed in peasant costume with basket on arm. Wildflower written on the back.Allan B Martin, 4 Royal Ave, Bendigoperson, individual, personal/portrait, gertrude perry collection, perry gertrude, wildflower, martin allan b

Small Four folded page program of 1951 Bendigo Centenary Festival Year. Coloured illustration of a Miner in period clothes carrying a pick with hand on hat beside a woman with umbrella, basket of flowers, decorated hat also in Victorian period dress. Program of activities for each month of 1951 listed.bendigo, history, city history. the goldfields.

Postcard - silver colour, heavy card ? Image shows gentleman dressed in three piece suit, turn down colour, tie, monocle in right eye, leaning on basket type ledge. Written on bottom 'Rt Hon. J. Chamberlain' On rear : addressed to Miss. L. Pethard, Tarax Café, City Market, Bendigo' On top printed: this card can be sent only under cover. Write here for inland postage only'person, individual, chamberlain, j, bendigo, pethard, tarax, lydia chancellor, chamberlain

Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian doll and clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen.Doll dressed in authentic Bavarian costume. Black wool hat trimmed with gold lace and dried flowers. Gold coloured skirt on dress with sash. Bodice is black with traditional embroidery. White long sleeves with lace trim at cuffs. She is holding a basket with dried flowers."Merry Christmas Else-Lore" on baseelse oertel, else lore hukins, friedel dehnel, dressmaker, chef, camp 3

Thomas Stoddart (1828 - 1905) bought 12 white marble statues during a visit to Italy. Stoddart arranged for them to be shipped to Victoria and placed on pedestals of Sicilian marble and on bases of Victorian granite. These statues were unveiled in the gardens on Queen Victoria's birthday, 24th May, 1884. His intention was for the statues to adorn and add interest to the gardens. Roman goddess of flowers is watering flowers at her feet and is dressed in a classical garment. Flora is considered by many to be the masterpiece of the twelve because of the fi ne detail which creates such a pretty picture in stone. This portrayal of the Roman goddess of flowers shows her watering a pot of luscious blooms with a basket of flowers on her arm. Her position is a highly visible one between the Statuary Pavilion and the fernery pond.The artwork is of historic and aesthetic significance to the people of BallaratWhite marble figure of a woman who is watering flowers at her feet and is dressed in a classical garmentFloraflora, stoddard

Depicted are nine Ruyton Girls' School prefects for the 1951 school year. The image is a formal school portrait taken outdoors on school grounds outside of Henty House (formerly Tarring). In the background, we can see three bicycles with cane baskets. The students are all dressed in knee-length check skirts, a dark jumper, light-coloured collared button-up blouse with a dark tie, wool blazers, and dark coloured shoes. Four girls are standing in the back row, and five are positioned in the front row. Students in the back row have been identified from left to right as M. Murray, B. Addison, T. Abson and H. Cole; in the front row, from left to right we can see S. Backhouse, J. Wigg (Vice Captain), F. Jacobs (Captain), E. Duff, and A. Dickinson. The same photograph appears in the Ruytonian 1951. Student leadership commenced at Ruyton Girls' School in 1906 with the introduction of the prefect system. Prefects had numerous responsibilities—gate duty, grounds duty, classroom marking, assembly door watch, uniform monitoring, and even supervising student detention. In 1947, a dedicated Prefects Room was erected on the east side of the Ruyton Girls' School Assembly Room in Henty House. The prefects system was revised in 1968 with a new leadership structure: there would be a permanent School Captain, Vice Captain and School Sports Captain; six permanent prefects would be elected, and the rest of the Matriculation class would form committees. These included Library, Social Services, S.C.M., Editorial, and Music. In this way, it was thought "that each Matric girl would have a certain amount of responsibility." With this revised structure came a brand new Prefects' Study, located in a former classroom next to the Domestic Science building. Each prefect was allocated one book locker, one clothing locker, "a small share in the heater", plus a new shared lounge. The prefect system was updated again in 1974. All sixth formers would become prefects, or "school officials." This saw the sixth form divided into two halves: one group would be prefects for the first half of the year, then the second group would take the reigns in the latter half of the year. In October 2023, Ruyton announced a new collaborative leadership structure for captains, prefects and house leaders, which would see two students in each leadership role.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Judi Olsen / Ann Dickinson / Bev. Addison / RGS011/1951/0004 /ruyton girls' school, ruyton, students, school, senior school, girls school, kew, melbourne, school uniform, prefects, photograph, henry henty, henty house, marion henty, tarring

Hauttley Family MartinB/W. Little Girl sitting on a chaise lounge holding a wicker basket matching cape and dress with cut fringe, wearing white socks, black strapped shoes24 George Street Logo Plymouth Edith Huttley (Martin) mother of Ray, Madge, Lorna. Heath and Bullingham Photographershuttley, martin

Issued to net ball team during 1987 by St Phillips Catholic Primary School, Junction Road, NunawadingMid blue princess line sports dress. Half belt from side front, vee neck. Breast pocket embroidered with basket ball and the name St Phillips in gold colour with matching sports knickers.St Phillipsrecreations, sports

Photograph from an unknown newspaper showing a group of men and women in formal dress. Six small girls, two of them holding baskets of flowers are at the front of the group. Thought to be of the Official Party at the opening of the Chiltern War Memorial Hall, or a function shortly after the hall was opened.Black and white photocopy of a newspaper photograph, printed on paperAt top of page: "1952 Official Party"chiltern war memorial hall, rsl, opening ceremonies

Photograph from an unknown newspaper showing a group of men and women in formal dress. Six small girls, two of them holding baskets of flowers are at the front of the group. Thought to be of the Official Party at the opening of the Chiltern War Memorial Hall, or a function shortly after the hall was opened. This photograph is a copy of the one on record no. 2305.002Black and white photocopy of a newspaper photograph, printed on paperAt top of page: "1952 Official Party"chiltern war memorial hall, rsl, opening ceremonies

Amey Cook unmarried and only daughter of William Cook and Jane nee MaggsSepia photograph of a teen-age girl with dark hair worn long. Dark short dress with white bow at neck. Dark stockings and shoes. Standing on a stone stair and holding a basket of flowers. Photograph mounted on black card.cook, amey