Hand painted china plate with coloured painting of a clown, gilt edge.Sticker E.Leamondomestic equipment, table setting, plate

Hand painted china side plate in 2 tone orange mottled pattern.D M Peters 11domestic equipment, table setting, plate

Hand painted china plate with grapes and vines in autumn tones and gilt edging.Zena ( Cohn)domestic equipment, table setting, plate

Hand painted china side plate, white with sepia scene of Mud Brick Hut Bendigo.Hand painted by J.Nichener. Bendigo 1985domestic equipment, table setting, plate

Hand painted china plate with sepia scene of Central Deborah mine with tram in foreground on white china with gold edge & wording Birney car & Central Deborah Mine Bendigo.Handpainted by J Michener Bendigo 1985domestic equipment, table setting, plate

Alva Dorothy GOODEN (1864-1949) Gooden was a china painter who is best known for her decoration of many dishes, plates and vases with Australian wildflowers and blackboy trees. Although Alva Gooden painted on a variety of different china including Wembley Ware, she was not one of the artists employed at the Subiaco WA china factory. Much of her work is simply signed ALVA. (https://www.daao.org.au/bio/alva-dorothy-gooden/, accessed 25 March 2017)Image of three saucers and a small cup, all handpainted by Alva Gooden, and depicting Grass Trees. alva gooden, blackboys, grass trees, china, alva

Sweets dish donated to the school by Gwen Graham (CPLC 1924-1935) in 2002. The dish was hand painted by Lucy Shaw (Principal of Clarendon PLC 1927-1934), to raise money for the school. Small sweets dish with fluted edge; Clarendon PLC crest hand painted on face.On base: L. S. / 1934lucy-shaw, clarendon-presbyterian-ladies-college, principal

Miss Lucy Shaw, principal Clarendon PLC 1927-1934 hand painted this sweet dish in 1923. Small round sweet dish with decorative hand painting around borderOn base: L.S. / 1923

Bendigo Art Gallery, Bendigo Art Society. President: Hon. R H S Abbot, M.L.C., F.R.S.A. Eleventh Exhibition, in the Bendigo Art Gallery, View Street. October 10th to 31st, 1926. Hon. Treas.: C E Bulley. Catalogue Price 6d. The President, Officers, and Committee of the Bendigo Art Society express their pleasure in presenting the representative collection embodied in this Exhibition. Mr John Shirlow, the noted etcher has been good enough to get together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the Society and to encourage the local artists. The patronage and help of our citizens is earnestly solicited. Fee, for exhibiting or ordinary membership, only 5/- per annum. Should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. Joint Hon. Secs.: J Hudspeth, V E Greenhalgh. Fine Art Section. Arists names: Elma Roach, Ida F Knox, H J Honeybone, Edith H Moore, M A Hope, Lady Barrett, G E Parker, D Hinchcliffe, Aileen R Dent, J Hudspeth, J Florence MacGregor, Madge Freeman, C E Bulley, Merle Bulley, Ethel f Crook, L M Sheridan, C G Dunlop, Ena Smith, William H oliver, E Phillips Fox, Ethel Carrick, H Septimus Power, David Davies, Norman Davies, Norman W Penrose, Margaret McCloud, Josephine Van Damme, M E Coverdale, Marion Jones,R W Bugg, L Rowe, Lucy C Newell, Claire Colgan, Charles G Stewart, Alice Newell, V E Greenhalgh, Violet Hambly. Display of Hand-Painted China: H W Tilley, M Jacobs, W McKie, A E Collier, Hilda Veale, Elma Curnow, Jean Cahill, Frank Vaughan. Collection of Australian Art: W D Knox, Esther Paterson, Dora L Wilson, A M E Bale, E F Hooton, John Rowell, Horah Gurdon, Louis McCubbin. Section A (Outdoor Study, any subject, any medium.) Members only: C G Duinlop, J Florence MacGregor, Merle Bulley, William H Oliver, Norman W Penrose. Section B Student's Section. Drawing or Design. Pupils of Schools: Stanley R Millott, Joyce Ranson, Ronald William Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, J Honey Church, J G Graham, Ivo Steel. Section C Student's Section. Applied Art. Pupols of Art Schools: Florrie Spencer, Joyce Ranson, Ronald W Forbes, Dorothy Clemens, Lilian J White, Ruby A I Welch, Nancy R Hudspeth, Jean Honeychurch, Annie I Paterson, Isabel Blake, Beatrice Lee, Garnet Capper, Gwen Osborne, Dorothy Olds, Marjorie Crossman, Doris Shaw, Phyllis Paul, Amy Bolton. Section D Plant Form From Nature (Pulils of Schools in Bedigo Inspectorate), North Bendigo: Alan Styles, Ronald Wright, Agnes R Styles, Jean Woodman. Creek View S.S. Beryl Butcher, Grace Gerguson, Ruth Cheatley, Elmore S.S.: George Read, Hazel Farnsworth, Lorna Washington, Keith Gow, Jean Oliver, Robbie Dick. Wanalta S.S. Mary Brown, Dorothy Nelson, Isobel Roberts, Kenneth McKenzie, Frank Brown. Barnedown S.S.: Elsie Read, George Cahill, Maud Nicholas, Leonard Robbins, Benjamin Robbins. Gravel Hill S.S.: Gladys Bamford, Jean Wright, Jean Hosking, Nancy Honeychurch, Norman McLean, Norman Guy, Agnes Stilwell. Violet St S.S.: Alma Worth, G McConville, Harry Elliot. Various Schools: Wm. Hyslop, Ruby Robertson, Hilda Parkinson, Maud O'Connor, Archie L Walker, Hedley Leggo, Jan O Hoy, Edith Cheatley, John Tatchell, Jean Barell, Keith Ashcroft, John Mueller, J Howe, Eric Cohen, Alice Glover, Ivy Morphett, Allen V Horne, Yin On, R W Moon. 2 Copies of catalogue. Black print, 12 pages made up of 3 sheets of paper with 2 staples in centre.Boltons Print, Bendigoevent, exhibition, bendigo art society, bendigo art gallery, bendigo art society. president: hon. r h s abbot, m.l.c., f.r.s.a. eleventh exhibition, in the bendigo art gallery, view street. october 10th to 31st, 1926. hon. treas.: c e bulley. catalogue price 6d. the president, officers, and committee of the bendigo art society express their pleasure in presenting the representative collection embodied in this exhibition. mr john shirlow, the noted etcher has been good enough to ger together a fine showing of works from eminent artists, who have kindly exhibited with a disire to help the society and to encourage the local artists. the patronage and help of our citizens is earnestly solicited. fee, for exhibiting or ordinary membership, only 5/- per annum. should you care to join, the executive officers will only be too pleased to give any information and to receive subscriptions. joint hon. secs.: j hudspeth, v e greenhalgh. fine art section. arists names: elma roach, ida f knox, h j honeybone, edith h moore, m a hope, lady barrett, g e parker, d hinchcliffe, aileen r dent, j hudspeth, j florence macgregor, madge freeman, c e bulley, merle bulley, ethel f crook, l m sheridan, c g dunlop, ena smith, william h oliver, e phillips fox, ethel carrick, h septimus power, david davies, norman davies, norman w penrose, margaret mccloud, josephine van damme, m e coverdale, marion jones, r w bugg, l rowe, lucy c newell, claire colgan, charles g stewart, alice newell, v e greenhalgh, violet hambly. display of hand-painted china: h w tilley, m jacobs, w mckie, a e collier, hilda veale, elma curnow, jean cahill, frank vaughan. collection of australian art: w d knox, esther paterson, dora l wilson, a m e bale, e f hooton, john rowell, horah gurdon, louis mccubbin. section a (outdoor study, any subject, any medium.) members only: c g duinlop, j florence macgregor, merle bulley, william h oliver, norman w penrose. section b student's section. drawing or design. pupils of schools: stanley r millott, joyce ranson, ronald william forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, j honey church, j g graham, ivo steel. section c student's section. applied art. pupols of art schools: florrie spencer, joyce ranson, ronald w forbes, dorothy clemens, lilian j white, ruby a i welch, nancy r hudspeth, jean honeychurch, annie i paterson, isabel blake, beatrice lee, garnet capper, gwen osborne, dorothy olds, marjorie crossman, doris shaw, phyllis paul, amy bolton. section d plant form from nature (pulils of schools in bedigo inspectorate), north bendigo: alan styles, ronald wright, agnes r styles, jean woodman. creek view s.s. beryl butcher, grace gerguson, ruth cheatley, elmore s.s.: george read, hazel farnsworth, lorna washington, keith gow, jean oliver, robbie dick. wanalta s.s. mary brown, dorothy nelson, isobel roberts, kenneth mckenzie, frank brown. barnedown s.s.: elsie read, george cahill, maud nicholas, leonard robbins, benjamin robbins. gravel hill s.s.: gladys bamford, jean wright, jean hosking, nancy honeychurch, norman mclean, norman guy, agnes stilwell. violet st s.s.: alma worth, g mcconville, harry elliot. various schools: wm. hyslop, ruby robertson, hilda parkinson, maud o'connor, archie l walker, hedley leggo, jan o hoy, edith cheatley, john tatchell, jean barell, keith ashcroft, john mueller, j howe, eric cohen, alice glover, ivy morphett, allen v horne, yin on, r w moon. 2 copies of catalogue. black print, 12 pages made up of 3 sheets of paper with 2 staples in centre.

Fawn-coloured setting was donated to the school by Mr Robert Murray in 2005. The setting was hand painted by Lucy Shaw, (principal of Clarendon PLC 1927-1934) in 1934. The sets were sold to raise money for the school. Cup, saucer and plate with Clarendon PLC crest hand-painted on face; fawn coloured china with tan edge to plates and handle of cup; second cup, saucer and plate with off-white china and light brown edge to plates and handle of cup.On base of cup: L. SHAW On base of saucer: L SHAW / 1934 On base of plate: L. S. / 1934lucy-shaw, hand-painted-china

This gilt plate is from an era where master crockery manufacturers where either located in Britain or Europe.The cost of transportation and the time taken to receive items limited the availability of first class goods. This was an era that was "British is best" in all manufactured goods. With the slow influx of European immigrants European manufactured goods also became of high value. This social requirement was more of a prerequisite for the more affluent rural population, especially at a time when Australia "rode on the sheep's back". Fine British and European goods were a "status symbol", even in rural Australia. After World War II, the invasion of American and Japanese merchandise opened up the market place for cheaper "throw away" items. Longevity and quality of goods fell away as the "throw away" society rolled on.This item demonstrates the time when the rural sector was at its most affluent and influential in dictating the strong ties between Australia, Britain and Europe. The very influential "Country Party" ensured that the protection of the rural sector was well entrenched. The ability of the "well off" rural sector, in this period, were not only able to travel abroad but also to purchase expensive items "overseas" cutlery and crockery. The significance of this item is that it highlights a period in time when the "rural" affluence was at its peak.This hand painted floral gilt plate is a cream fluted china plate decorated with pink and yellow orchid flower arrangement. It is in the "Art Nouveau" period 1880-1920.underneath and within the circular base and in gold freehand script "4" underneath "1562". Pressed into the base is the manufacturer's monogram.Circled around the FAM mark is "* FRANZ ANT. MEHLEM*BONN A/RHEIN*"hand painted china, floral gilt plate, decorative china

Round, hand painted, China tea pot stand. White with pink and yellow floral design.teapot stands

Hand painted china side plate with coloured scene of Chinese Joss House Bendigo and gilt edge.Hand painted by J.Mitchener Bendigo 1985domestic equipment, table setting, plate

Hand painted china side plate with sepia scene on white china with gilt edge of Dudley House Bendigo.J.Mitchener 1985domestic equipment, table setting, plate

Hand painted china candle stick with handle, decorated with flowers in shades of blue, pink, lemon and green with gold around rim.lighting, candle, bedroom

Hand painted china dinner plate with rural scene of Gumtrees, hills, creek & a bunch of wattle and mauve flowers in foreground, gilt edging.Zena Cohn Bendigodomestic equipment, food consumption, plates

It is understood that the plate was used by Samuel Lewers and his family when they lived at Traquair House (1861-1895). The plate was given by Stella Surman, who lived at Traquair House in the 1960s and 1970s, to her foster son Graeme Dunn. Marks on the plate indicate it was manufactured by Pinder, Bourne & Co in Staffordshire, England.Round dinner plate, white in centre, 5cm wide decorative border (hand-painted?), images in "Chinese" style depict leaves, vases & medallions, in colours orange-red, brown, & black. On back of plate: Maker's mark consists of laurel & crown, with the letters "PB & Co"and the name of pattern, "Tycoon". Manufacturer's name PINDER, BOURNE & CO. also imprinted on back of plate. Also hand-painted in small lettering on back: "9197 / ' ' ' ".dinner plates, crockery, pinder bourne & co [staffordshire potteries], traquair house, lewers family, stella surman, graeme dunn

Clothing. Women's cream coloured double thickness silk scarf. Fabric has embossed pattern of diagonal leaf shapes. At each end on one side only are hand painted pictures;. 1. A Chinese girl kneeling below a tree and holding a sword in her right hand. 2. Tree branch with two butterflies and a rectangular Chinese symbol. Both ends have 5 cm fringeing.costume accessories, female, cream coloured silk scarf

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.The banner has a narrow fuchsia embroidered top border, a wider embroidered panel depicting 2 dogs with embroidered Chinese text and a larger lower panel with the embroidered text “PRESENTED TO THE CHINESE OF BEECHWORTH BY THE COMMITEES OF THE PUBLIC INSTITUTIONS (missing) THAT TOWN IN COMMEMOR (missing) OF THE CARNIVAL 1873” The 2 lower panels have narrow decorative borders decorated with mirrors and extensive embroidery. There is an additional embroidered tab running along the right hand edge. The bottom edge has a wide knotted fringe. The back is lined with fabric decorated with a painted scene. Refer Attachment 1 quote ARTLAB AustPRESENTED TO THE CHINESE / OF BEECHWORTH BY THE / COMMITEES OF THE PUBLIC / INSTITUTIONS THAT / TOWN IN COMMEMOR / OF THE CARNIVAL 1873beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This image of a man on horseback is thought to have been taken in Beechworth in approximately 1900. The man pictured may be Chinese. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details a rapid increase in the Chinese population beginning in 1856 that led to Government discrimination and hostility from other miners. Many Chinese people who came to the Victorian goldfields had formerly worked as merchants, mechanics, farmers and shop-keepers. The pictured individual is wearing Western-style clothes indicating prosperity, such as a top hat, so may have held an official position or provided services to the community rather than working as a miner. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese people. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, immigration, racism, classism, social groups, cultural groups, horse riding, horses, equestrian, horseback

William Rosevear was born around 1848 and in 1869, he married Margaret Morrison. He was a bootmaker at Condah for forty years. William enjoyed cricket and football and was a longtime goal umpire for the Condah football team.William Rosevear was the coxswain for the Portland Lifeboat and assisted in the rescue of survivors from the wreck of the AdmellaChina mug with handle. White with hand-painted floral arrangement on each side, gold line on rim and base and touches on handle.Front: William Rosevear 1859 (gold copperplate, on side)rosevear, western district families, domestic item, portland lifeboat, admella

In the early days of Orbost many Chinese were engaged in land clearing or had arrived when gold was discovered in East Gippsland in the 1840's. They lived in camps along the Marlo Road and houses were usually built on stilts. They left after the 1893 floods.This object has aesthetic appeal. It is an object which belonged to the very early settlement days of Orbost.Huge, ornate Chinese ginger jar. Four raised hand- painted pink roses on front. Jar itself is matt black. Looks more like a vase than a ginger jar. Ceramic.Some Chinese writing to left hand side of roses.ceramics, ginger jar, container - domestic, vase

Carlton Ware was a famous Stoke-on-Trent based pottery manufacturer. The company was established in 1890 by James Frederick Wiltshaw, William Herbert Robinson and James Alcock Robinson trading under the name of Wiltshaw and Robinson. The trademark "Carlton Ware" was introduced in 1894, and the company's factory was renamed the Carlton Works. It reached its artistic high-point with superb hand-painted domestic pottery in high art deco styles during the 1920s and 1930.A china ornament representing a Heron or Egret'Carltonware'pottery, porcelain, craftwork, carlton ware, stoke on trent, wiltshaw james frederick, robinson william herbert, robinson james alcock, herron john, bentleigh, moorabbin, ormond, ornaments, early settlers

Bone China jug, with kangaroo shaped handle with hand painted relief scenes First Nations Peoples brandishing spears at Captain Cook’s sailors, Captain Cook taking possession of the country at Botany Bay April 1770 The words to Advance Australia Fair are also printed . Along the base is a color painted relief of a bullock cart containing logs.souvenirs, captain cook, botany bay, advance australia fair, indigenous, kangaroo, endeavour

This plate was painted for Ray and Joyce Uebergang by Helen McNaughton in 1985. The McNaughton family were sharefarmers on Tooram Park during this period. It was given to Cheese World Museum as part of the collection belonging to the Ray and Joyce Uebergang Foundation.This plate provides an image of Tooram Park at a given period.Bone china plate with a hand painting of "Tooram Park" homestead and cheese factory, Allansford. The roof of the house is red, the walls are green and there is a picket fence in front of the house. The cheese factory is cream. H.McNaughton, 1985 - on the back of the plate 'TOORAM PARK'/ALLANSFORDtooram, tooram park, h mcnaughton, uebergang, allansford, china plates, china painting

These hand painted bowls were the work of Ethel Mary Ellen Hose who married Albert Ernest Uebergang in 1917, who was an uncle of Ray and Joyce Uebergang. After leaving the family farm at Cudgee the couple moved to Surrey Hills in Melbourne. [Ref: p.228 The Uebergang Families in Australia] The donor, Heather Mclean, daughter of Charles Henry Uebergang, is a cousin of Ray and Joyce Uebergang. A visitor to the museum in March 2018 advised that the bowl with no 'U' was a replacement piece. It is unsigned and undated.This fruit set indicates the work of amateur china painters and is in pristine condition.Black hand-painted fruit set consisting of a large bowl and six small bowls. Each bowl has an individual fruit design and a gold-painted letter 'U' except one small bowl which only has the fruit design. The bowls have a gold rim.[on base] E M Uebergang/ 8/5/1923 [except for bowl with no 'U']uebergang, ethel mary uebergang, china painting, crockery, allansford, food & drink consumption