John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

This postal note was purchased at Hobart West Post Office but was not cashed in. Postal notes (or postal orders) were introduced as a means of transmitting smaller amounts of currency within a country. They were sanctioned by the Universal Postal Union and upon joining this body, each colony was required to issue them. Money orders were later introduced for larger sums. The post office became responsible for postal notes in 1890. Postal notes were a way of sending money through the post. They were replaced by money orders. Duplicate money orders were issued as replacements.This item is an example of a form of currency which has been superseded by postal and money orders. Postal orders are not legal tender, but a type of promissory note, similar to a cheque.A postal note -black print on green background. The amount is 2/- and it is dated Feb 9 1942 , Number 337582currency postal-note

Forceps, Tooth Extracting. Made C.Ash & Sons England.73 S, EP/27. L 145mm.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, forceps, tooth extracting, c.ash & sons

Australian Postal Note made out to the Postmaster at Hamilton to pay Miss H.M. Thomson - four shillings, at any time within six months from the last day of the month of issue on account of the Postmaster General. The purchaser must fill in the office of payment and names of payee.232512 VICTORIA / COMMONWEALTH OF AUSTRALIA / To the Postmaster at . . . . . . . Hamilton / Pay .. . . . . . . Miss H.M. Thomson / FOUR SHILLINGS / POUNDAGE / THREE HALF PENCEpostal note, money order, postmaster general

Part of the Stokes Orchard Estate, Stage 1 established 197635mm colour positive transparency Mount - Black and Whiteinfrastructure, roads, eltham, ironbark close, scarlet ash court, stokes orchard estate

Part of the Stokes Orchard Estate, Stage 1 established 197635mm colour positive transparency Mount - Black and Whiteinfrastructure, roads, eltham, ironbark close, scarlet ash court, stokes orchard estate

Colour photo print eltham, infrastructure, roadworks - gutters, scarlet ash court, shire of eltham, stokes orchard estate, streets

Roll of 35mm colour negative film, 3 strips Also photo print Kodak GA100 5095eltham, infrastructure, roadworks - gutters, scarlet ash court, shire of eltham, stokes orchard estate, streets

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of The Big Tree near Cambarville in Victoria. At the time the photograph was taken it was the world's tallest hardwood tree standing at 92 meters (301', 6"). However it was reduced to 84m by a wind storm in 1959.POST CARD The Rose Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoriabig tree, cambarville, cumberland valley, mountain ash, world's tallest tree, victoria, p. 4357, rose series postcard, postcard, souvenir

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of The Big Tree near Cambarville in Victoria. At the time the photograph was taken it was the world's tallest hardwood tree standing at 92 meters (301', 6"). However it was reduced to 84m by a wind storm in 1959.POST CARD The Rose Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoriabig tree, cambarville, cumberland valley, mountain ash, world's tallest tree, victoria, p. 4357, rose series postcard, postcard, souvenir

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of The Big Tree near Cambarville in Victoria. At the time the photograph was taken it was the world's tallest hardwood tree standing at 92 meters (301', 6"). However it was reduced to 84m by a wind storm in 1959.POST CARD The Rose Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoriabig tree, cambarville, cumberland valley, mountain ash, world's tallest tree, victoria, p. 4357, rose series postcard, postcard, souvenir

tower hill, volcano, volcanic ash, volcanic ash layers, geology, koroit

index, ill, maps, p.312.non-fictionA history of the tramways and sawmills of Warburton and District.timber tramways - australia - history, logging railroads -- victoria -- gembrook -- history.

From the estate of Jack Svendsen, a long time Moreland resident, dedicated volunteer and social activist. Donated by his family in keeping with his generous spirit. Administered through the Australian Government's Cultural Gifts Program.

non-fictionA booklet distributed at the Ash Wednesday 40th Anniversary Commemorative Eventash wednesday bushfires 1983, anniversary

151 p.; 30 cmnon-fictionAsh Wednesday reflections by residents of Cockatooash wednesday bushfires 1983, cockatoo (vic.)

94 p.; 22 cmnon-fictionAsh Wednesday fires with personal stories of the people involvedcockatoo (vic.), ash wednesday bushfires 1983

72 p.; 28 cmnon-fictionExperiences of the Ash Wednesday bushfire in Upper Beaconsfield. Personal recollection of the day and the aftermathupper beaconsfield (vic.), bushfires