This plate belonged to the Franklin-Hunter family of Grimshaw Street Greensborough. Mr W. J. Franklin took over the news agency from Mr Leggo in 1924. Plates of similar type were advertised in 1903 and 1904. Refer to The Ballarat Star Friday 19 June 1903, page 6 and The Age Saturday 9 April 1904, page 1.Plate from early 20th century.Octagonal china plate with fluted edge and illustration of mill. Cream glaze with worn gilt around edge, illustration in brown tones.franklin family, hunter family, plates.

These record were made by William Hunter. William Hunter (1893-1971), resident of Tatura and Mallacoota, was a soldier, surveyor and amateur naturalist.This item is associated with William Hunter.Two lined page book with back covers glued together. They contain hand-written astronomical observations and records of photographs taken. There is a blotter inside.hunter-william astronomy

Two photos - various inscriptions. "This (first) photo is RHS partner of V15" "Panfield Estate 1960. Panfield Ave. to Mullum Rd." "1965. Panfield Estate owned by Vic Hunter sold by Miles & Co." and second photo has written below photograph,"This photo is LHS partner of V11". Written on backing sheet,"Panfield Estate looking to Mullum Rd, 1963".

This Holy Bible is entitled "The Holy Bible containing the Old and New Testaments, translated out of the original tongues: and with former translations diligently compared and revised by His Majesty's Spiritual Command." It was printed by Sir D. Hunter Blair and M.T. Bruce in Edinburgh, 1836, printers to the King's most Excellent Majesty, H.B.S." The Bible belonged to David and Alice Ellis, a young couple married in Dublin in 1855. It has been handed down in the Ellis family until it was donated, together with other personal effects, in 2004 by David and Alice’s granddaughter, daughter of David Ellis Junior. Alice treated the Bible as an important posession. On 6th October 1855 newlyweds David and Alice Ellis set sail for Australia in the brand new Schomberg, considered the most perfect clipper ship. She was built as an emigrant ship in Aberdeen and set sail from Liverpool on her maiden voyage, bound for Melbourne, Australia. She was loaded with 430 passengers plus cargo that included iron rails and equipment intended for building the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. On 27th December 1855, only one day from her Melbourne destination, the Schomberg was grounded on a sand-spit on the Victorian coast near Peterborough. The passengers and crew were all safely rescued by a passing small steamer, the SS Queen, which traded between Melbourne and Warrnambool, and taken to Melbourne. The passengers had been told, when leaving the sinking Schomberg, that all they could take with them was a small basket or handbag. A newspaper article later mentioned that one of the things Alice made space for in her basket was her Bible. (It is unclear whether Alice took any possessions with her onto the SS Queen, but a note accompanying the donation of the Bible and basket states that the items were “left on deck and salvaged as Schomberg went down”.) Another steamer was despatched from Melbourne to retrieve the passengers’ luggage from the Schomberg and Alice was reunited with all of her boxes of belongings. Other steamers helped unload the cargo until the change in weather made it too difficult. Although the Schomberg was wrecked there were no lives lost. At that time David was 23 years old (born in Wales, 1832) and his new bride Alice was 26 (born in Dublin, 1829). They had been given letters of introduction to people in Tasmania so they travelled there from Melbourne. However the couple only stayed on that island for about a year before they returned to the Western District of Victoria. David worked for Mr Neil Black as a gardener for a while then, when the land in the area was made available by the Victorian government, David and Alice claimed a selection of land on Noorat Road in the Terang district. They settled there for the remainder of their lives, expanding their property “Allambah” as opportunities arose. A document accompanying the donation lists the names of six children; William, Grace (c. 1859-1946), Thomas (c. 1866 – 1939), David (c. 1962 – 1953), James and Victor. David died on 13th April 1911, aged 79, at their property. Alice passed away the following year, November 1912, aged 83. Alice’s obituary described her as “a very homely, kindly-natured woman, who was highly esteemed by a large circle of friends; and she was also a firm adherent of the Presbyterian Church”. At the time of Alice’s death she left behind three sons and one daughter. Her daughter Grace Ellis was also a very active member of the Terang Presbyterian Church and a member of the PWMU (Presbyterian Women’s Missionary Union). She was also involved in the Red Cross and other charities. Grace passed away in 1946, aged 87. David and Alice Ellis were amongst the very earlies pioneers of the Terang district of Western Victoria. Their donated possessions are a sample of the personal effects of emigrants to Australia. The donated items are a sample of the personal goods carried aboard a significant migrant ship in 1855. They are also significant for their association with the Schomberg. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Bible, known as the Ellis - Schomberg Bible, with patterned brown leather cover. Printed by Sir D. Hunter Blair and M.T. Bruce, Edinburgh 1836. Bookmark of card placed within Bible’s pages is from Keswick Book Depot, Melbourne. Bible has hand written inscriptions inside front and back covers and has been well used. Bible was amongst the possessions of David and Alice Ellis, passengers on the Schomberg when wrecked in 1855.Scripture references and notes are hand written in pencil on front and back inner pages. Bookmark card has printed inscription; on front “BOOK MARK / KESWICK / BOOK / DEPOT / EVERYTHING / EVANGELISTIC / 315 COLLINS ST / MELBOURNE / CENT. 3013”, on back is line drawing of a stem of iris flowers above the verse “The entrance of Thy / words giveth light; it / giveth understanding / unto the Simple. Ps. 119-30” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, schomberg, holy bible, schomberg bible, d hunter blair and m t bruce, 1836 bible, 1855 shipwreck, peterborough shipwreck, ss queen, david ellis, alice ellis, allambah terang, dublin emigrants, terang presbyterian church, western district victoria

The Rising Sun Reef first opened, at Bonang in 1868.– at Goongerah Creek south west of Bonang. William Hunter (1893-1971), resident of Tatura and Mallacoota was a soldier, surveyor and amateur naturalist. This document is a useful research tool.Plans and application for the "Rising Sun Goldmine". Tery are on foolscap sized white paper with black text. hunter-william gold-mining rising-sun-goldmine bonang

This wedding gown was worn by Dorothy Forbes, nee Hunter, for her marriage to Mr David Norman Hunter on May 29th 1937. The dress was simply made, using many yards (metres) of satin material, with numerous hand-turned rouleau loops around the train. Mrs Forbes' mother made the dress and her daughter Mrs D Booth kindly donated it to Box Cottage Museum. A princess line or A-line describes a woman's fitted dress or other garment cut in long panels without a horizontal join or separation at the waist. Instead of relying on darts to shape the garment, its fit is achieved with long seams and shaped pattern pieces.. The Princess line was a staple of dress design and construction throughout the 20th century. In 1951 the couturier Christian Dior presented a princess-line based fashion collection. A princess line, dark cream satin wedding gown with a cowl neckline, long sleeves with cuffs and a long train. clothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, dairy farmers, craftwork, princess line dress, satin, christian dior fashion, dress patterns, forbes dorothy

Major Douglas Hunter joined 8/13 VMR following National Service training in 1956. He rose through the ranks to become Officer Commanding " A " Squadron 8/13 VMR 1976 - 1980.The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.One of a collection of photographic portraits of Commanding Officers and Officers Commanding of the regiment/independent squadron from its inception in 1947 to its linking with 4th/19th Prince of Wales’s Light Horse in 1991. Framed black and white photograph of officer wearing 8th/13th Victorian Mounted Rifles hat badge. Title strip below photograph." Major D.J. Hunter RFD 1976 - 1980military, vmr, hunter, officer

"The Forest People use poison on their darts, and on some of their arrows, to stun or kill small prey. Poison Brewers distil the venom, which is obtained from roots, bark, leaves, and the skin of a certain frog-like creature. Alchemancers distribute the venom to hunters and healers. Poison-impregnated darts are kept in special pouches or quivers, blessed by the Alchemancer or the Guardian with special spells and incantations to prevent accidents and the perversion of the tools by evil spirits. Each of these quivers carries amulets of protection. The quivers themselves, were made by a specially trained craftsman who is able to sing incantations into the actual structures themselves, ensuring double and sometimes treble protection from danger, as well as increased effectiveness, sureness of flight, efficacy of the poison etc. Quivers such as these are kept on the belt, on the side away from the dominant hand, to ensure considered, careful use, and to prevent the wrongful use of poison when a simple arrow would be sufficient." - Inga Hunter

´This is the bag carried by the Keeper of the Dead, in which he keeps his relics of the dead, the ritual objects of his trade and the special talisman to protect both himself and his charges from harm. He casts the Bones in regular protection ceremonies, and is sought after secretly by people who want to find out the spiritual state of their loved ones. Some think he can predict the future with unfailing accuracy, though few dare to seek him out for such a purpose.´ -Inga Hunter

Items from the Mitcham RSL collectionSwagger Stick. Length 69cm (27inch). Light brown wood, with 1.14cm Britannia Metal end embossed with submarine badge and words Submarine Hunters, and 1cm Britannia Metal band at other end.Submarine Huntersmilitary history, navy

Albury’s initial cemetery, the Pioneer Cemetery, officially opened in 1861. This book focuses on biographical details of individuals interred in the cemetery who made an important contribution to the settlement and development of Albury and district.pioneer cemetery albury nsw, history albury, pioneers albury

306 p., illus.non-fictionThe story of William Buckley.william buckley, john batman, victoria history, kulin nation

Written on list in sleeve, "High School - Bedford Rd. Ringwood. Photo Pupils - Form 1D. Reading from Left to Right: Back row boys: 1. Alan Carter, 2. ??, 3. Maurice Henry, 4. Peter Van Ketwich, 5. Douglas Hume, 6. ??, 7. John Callam, 8. ??, 9. ??, 10. ??, 11. Peter Gluth, 12. ??, 13. Geoff Edwards, 14. Len Armfield, 15. Ray Davidson".

fictionYoung steel worker from Pennsylvania is not prepared for the horrors of war in Vietnam vietnam, american, movie

They came together to form one of the most potent fighting forces the world had ever seen: Red teams, heavily armed Huey helicopters and the deadly AH-1 Cobras. 1961-1975 - personal narratives, american, vietnamese conflict, 1961-1975 - regimental histories - united states, huey helicopter, ah-1 cobra

They came together to form one of the most potent fighting forces the world had ever seen: Red teams, heavily armed Huey helicopters and the deadly AH-1 Cobras. 1961-1975 - personal narratives, american, vietnamese conflict, 1961-1975 - regimental histories - united states, huey helicopter, ah-1 cobras

B&w photographs, word listsawabakal, kuringgai, wonnarua, lake macquarie, hunter river

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.