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Bendigo Historical Society Inc.
Document - NEW SYDNEY WOODWIND QUINTET, CITY HALL, 6 June, 1973
New Sydney Woodwind Quintet, city Hall, Bendigo. Wednesday, 6th June, at 8.15 p.m. The Music Advancement Society of Bendigo 2nd Concert, 1973 Series Presenting by arrangement with Musica Viva Australia. Neville Amadio; flute, Guy Henderson; oboe, Donald Westlake; clarinet, John Cran; bassoon, Clarence Mellor; french horn. The artists appear by curtesy ABC. President: R N Levy, Hon. Secretary: E Beilharz. Programme. Advertising: Powney's Toy Shop, Powney's Authorised Newsagency, Musina House (Organs, Sewing Machines, Knitting Machine), Bendigo Pottery (has now become a major tourist attraction, Tour Times).Bolton Bros. Pty. Ltd.musical instruments, wind, music advancement society bendigo, new sydney woodwind quintet, city hall, bendigo. wednesday, 6th june, at 8.15 p.m. the music advancement society of bendigo 2nd concert, 1973 series presenting by arrangement with musica viva australia. neville amadio; flute, guy henderson; oboe, donald westlake; clarinet, john cran; bassoon, clarence mellor; french horn. artists appear by curtesy abc. president: r n levy, hon. secretary: e beilharz. programme. advertising: powney's toy shop, powney's authorised newsagency, musina house bendigo pottery -
Bendigo Historical Society Inc.
Document - BASIL MILLER COLLECTION: TRAMS - EASTER TIMETABLES
A series of handwritten notes on card, (16 Pieces), relating to run times for various sections of numerous tram routes across Bendigo.person, individual, basil miller -
Bendigo Historical Society Inc.
Photograph - BRADFORD MILL, c1960
... supplied by Feature Series, Herald - Weekly Times, Melbourne.... & Weekly Times Ltd Melbourne Australia Herald Sun Black and white ...Black and white photograph: Standing women working beside large factory machine at Bradford Mills, High Street, Kangaroo Flat. Physical Description : loose black and white photograph. Curling at edges. Inscription/markings: Herald Sun photograph supplied by Feature Series, Herald - Weekly Times, Melbourne.Herald Sunorganization, business, bradford mills, copyright not for reproduction. herald - sun photograph supplied by feature service the herald & weekly times ltd, melbourne australia -
Bendigo Historical Society Inc.
Newspaper - BENDIGO MINING, WALKING UNDERGROUND FROM SPRING GULLY TO EAGLEHAWK
Newspaper article, Bendigo Advertiser, Thursday October 13, 1988, page 1. It was said in the 'heyday of Bendigo's gold mining it was possible to walk underground from Spring Gully to Eaglehawk' Article describes a walk done in 1988 from the 8th level of the Central Deborah Gold Mine shaft (270 m) through a series of tortuous and at times hazardous drives, stopes, shafts and cross overs to the 8th level of the North Deborah Gold Mine. Steven Hinde, Bendigo Mining's Chief Geologist lead the trek, which proved it was still possible to go down one shaft and emerge up another. When Bendigo Mining dewatered the Central Deborah shaft it uncovered the old connecting passages.bendigo, mining, central deborah gold mine -
Bendigo Historical Society Inc.
Book - LYDIA CHANCELLOR COLLECTION : THE VAGABOND PAPERS
Books. A damaged green hard covered book titled 'The Vagabond Papers. Sketches of Melbourne Life, in Light and Shade.' 3rd series. The pen name of the author is The Vagabond. It is reprinted from 'The Argus' ( with the sanction of the Proprietors), with considerable alterations and revisions by the author.) 'Dedicated to the Members of 'The Fourth Estate' in Victoria, from Editor to 'Devil,' by their colleague, 'The Vagabond.' Published by George Robertson, Melbourne, Sydney and Adelaide 1877. 208 pgs. Ills. NB: Some excellent advertisements of products of the times are in this book.'The Vagabond'melbourne, city life, lydia chanceller collection, collection, advertisements, melbourne, city life, book, books -
Charlton Golden Grains Museum Inc
Photograph, Foodmaster Supermarket High St Charlton c. 1987
Originally Luth's General Store purchased from John Flug in 1875. Renovated and enlarges several times over the years. Business sold to Wignall's in 1971, then O'Donnell's, Currans, Carroll & H?son and Graeme Paterson purchased the building in 1986. Part of streetscape series done for the Sire of Charlton 1987.Colour photograph showing the single storey Foodmaster SUPERMARKET building. Red, white and blue signage on the verandah reads O'DONNELL'S LICENCED SUPERMARKET, and WOOL Haberdashery ARTS & C. Three entrances and four large windows. Windows covered in advertising posters. Six cars parked in front of the building. Edge of white, two storey building on LH side of photo. Three cars in lower part of photo.luth's, john flug, wignall's, o'donnell's, curran's, carroll, graeme paterson -
Tramway Heritage Centre
Photograph Album (part of), Ray Pearson's Photo Album - Trams of Victorian Railways, Ballarat, Bendigo, Geelong
Page 3 of Ray Pearson's Photo Album. Brown card page with two metallic look postcards (landscape format) placed on page using clear plastic photo corners. Both postcard images depict trams in Ballarat. The bottom postcard has come loose of two of it's photo corners (top and bottom on the right) and is not secure on the page. A hand written inscription is written in pencil behind the bottom photograph.Hand written inscription in pencil behind postcard at base of page: W.4. Printed text to left of image on bottom postcard: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / NO. 3 LATER ELECTRIC TRAM SYSTEM / In 1934 the State Electricity / Commission took over the Bal- / larat trams from the Electric / Supply Company of Victoria. / During 1935-37 the whole sys- / tem was reconditioned by the / Commission. / For the Coronation of King / George VI, No. 28 was decor- / ated for the occasion. It ran / for three days – 12th, 13th / and 14th May, 1937, and was / painted red and cream. / During the Coronation cele- / brations of Queen Elizabeth II, / the trams carried two flags / mounted vertically fore and aft / on the roof. / Some huge loads were / carried during the second / World War period and owing / to man power shortages, con- / doctresses were employed / from September, 1942 to July, 1946. At one time, the total / reached 23. Printed text to back of bottom postcard: BALLARAT TRAMS / 1887 to 1971 / A series of four postcards. / In the early fifties, loading / on the trams was heavy. When / the lag in housing was over- / taken, however, breadwinners / started to leave the trams and / travel to work in cars. Increas- / ing affluence in the sixties ac- / centuated the trend. Soon the / trams were running with mount- / ing annual losses. Most of the / passengers travelling in these / times were concession holders: / students, pensioners, deserted / wives and T.P.I.'s A fine printed vertical line runs down the centre of the blank writing space to the left of the body text. Above is written: POSTCARD postcard, coronation, ray pearson, vintage trams, ballarat tramway, tram postcard, female conductors, suttons, ballarat tram -
Bendigo Historical Society Inc.
Document - NORMAN OLIVER COLLECTION: AUSTRALIAN INSTITUTE OF MANAGEMENT LECTURE SERIES
The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Seven typed pages headed 'The Australian Institute of Management - Melbourne Division. 'Marketing and promotion for the Smaller Business' Lecture Series. Lecture No. 1 - Wednesday 26 August at 8pm.' This was in a 1965 sequence of Mayor's papers. There are summaries of three lectures - 1. Finding out where and what you can sell (Mr P D R Morgan) 2. What methods of selling should be employed (Mr S Cookson) 3. How to increase your sales (Mr A R Dansey).cottage, miners, councillor norman oliver. mayor of bendigo. australian institute of management. -
Bendigo Historical Society Inc.
Document - VARIOUS DOCUMENTS FROM 'BOX 511'
Various documents from 'Box 511': a. 'Royal Family' - re filmed portrait of Queen Elizabeth II (1959); b. 'Scientific American', issue of April 1934; c. 'Band of Hope Review, 1867 - published in England (Baptist); d. 'Beautiful Britain' - Art Series No 6 - Scenery of the United Kingdom, m1894; e. as for d. but Series 10; f. as for d. but Series 11; g. as for d. but Series unknown (no cover); h. 'Hobart and Suburbs' = Aerial Survey Maps (street directory), 1954 - ex libris A. Richardson, 1959; I. 'Weekly Times Annual, Dec 10, 1931 - cover and pages missing; j. 'Table Talk Christmas Annual, Dec 3, 1923 (cover and pages missing)document -
Wangaratta RSL Sub Branch
Photograph
Image depicts two basalt war memorials located in the Memorial Gardens next to the Holy Trinity Cathedral The first commemorating the four local soldiers killed in the Boer War and a declaration of peace at Pretoria. It was unveiled in 1903 by Colonel John Hoad. (Later Sir John Hoad) a one time Wangaratta resident who became chief of the Australian General Staff. The second memorial bears the names of residents who were killed in the two World Wars as well as the Vietnam War. It was unveiled in 1923 by Colonel Scott, a former borough engineer. The image includes 2 x 32 pound cannons taken from HMS Nelson, a Royal Navy warship built between 1809-1814. The Nelson was transferred to the Victorian Colonial Navy as a cut down two decker in 1867.. The ship arrived in Port Phillip on 4 February 1868 and decommissioned in 1893. The cannons arrived in Wangaratta in 1901.Each year an ANZAC service is held in the gardens to remember those that served our country during times of war.Unframed sepia photograph of two tall monuments in garden setting.Memorial Gardens, Wangaratta Valentine Series No 1028cenotaph, wangaratta, war memorial, boer war, ww1, ww2, vietnam war, hms nelson, cannons -
Robin Boyd Foundation
Document - Script, Robin Boyd, The Flying Dogtor. Episode 48 The Tower, 1963
The Flying Dogtor was called to the Snowy Mountains Scheme by the Government to help solve the mystery of a monster or sea serpent, that was wandering the lakes and tunnels. Several times, the Dogtor caught a glimpse of a monster but every time, it got away before he could see it properly or speak to it. Then he came to a weird-looking lookout on the edge of the lake, and paid his sixpence to climb to the platform for a look through a telescope. He heard faintly, a nasty sound of eerie, spidery laughter.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 2 pagesHandwritten pencil edits and additions.the flying dogtor, robin boyd, crawford productions, manuscript -
Victorian Aboriginal Corporation for Languages
Book, Ron Vanderwal, John Bulmer's recollections of Victorian Aboriginal life, 1855-1908
John Bulmer spent forty years of his life as missionary to Aboriginal people in Victoria, in 1855 devoting his activities to communities on the Murray, but most of his life was spent at Lake Tyers where he established a Church of England mission in 1862, In his later years he wrote a series of thirteen papers in which he recorded his observations on the life and times of the people to whom he ministered. Over a period of several years Alistair Campbell transliterated the manuscripts, altering a little but retaining the flavour of the original text.maps, b&w photograph, word lists, tablesgunai kurnai, gippsland, lake tyers, lakes entrance, king charley, snowy river, ellen hood, sarah moffat, lance mcdougall, kassie mcdougall, tom foster, alec mccrae, nellie blair, john bulmer, victorian history, indigenous social life, kinship, religion and mythology, bush foods -
Ruyton Girls' School
Programme, Ruyton Girls' School, Ruyton Athletic Sports, 26 April 1950
The pamphlet documents the agenda for the Ruyton Girls' School athletics sports carnival hosted at Glenferrie Oval on Wednesday, 26 April 1950. The program outlines a series of activities to be undertaken by junior and senior school students (including day girls and boarders), including crossball, potato sack race, hockey dribbling, egg and spoon race, relays, baseball throwing, and obstacle courses. Each sport is divided into age brackets including under 14, under 16, and 16 and over. The pamphlet also acts as a scorecard, featuring columns for recording results, points scored, progress points and times. Ruyton Girls' School has an exceptional reputation in school sport. The School is a member school of Girls' Sport Victoria (GSV), a large sporting association involving 24 independent girls’ schools in Melbourne. Girls in the Senior School have the opportunity to compete in a range of sports over the four terms and at three major carnivals; Swimming and Diving, Cross Country and Track and Field. Ruyton also has a very successful Rowing program and participates in the Victorian Interschools Snowsports Championships.The record has strong historic significance as it gives insight into the House system at Ruyton Girls' School; in particular, how the House system is used in a sports context. In the early 1920s, Ruyton was settling into its new home at Selbourne Road, Kew. At the time, students were arranged by their form (or year level) for lessons and other school activities. A collection of eight emblems and mottoes for each form group was published in the Ruytonian December 1922, although the genesis of each were left unexplained. With enrolments continually growing, Principal Miss Hilda Daniell felt a new basis of organisation would benefit students, giving them a broader outlook and something bigger to work for. She took inspiration from tradition and implemented a House system. The House system was adopted at Ruyton in September 1924 to "provide a new kind of co-operation and competition among the girls, especially in Sport." There were four houses, three of which were named after early Principals: Anderson, Bromby and Lascelles. There was also the School House, initially for boarders only. Some time after the publication of the Ruytonian in April 1928, the School House was renamed Daniell House, and had opened up to day girls. The account published by the newly formed Daniell House in the Ruytonian December 1928 reads, "we are rather bashful in presenting this account of our doings, for we are conscious of our newness. Our house has now the honour of being known as Daniell House." Four of the original eight form emblems were adopted by the new Houses, while the others were discarded. According to former teacher and author of the centenary history of Ruyton, Ms Majorie Theobald, the House system "gave a new focus for all competitive sport, which had previously been organised on a rather inequitable basis." The colours chosen for the Houses were cherry red for Anderson, royal blue for Bromby, gold for Lascelles, and pale blue for School (later Daniell). New students starting at Ruyton from Prep onwards are allocated to one of the following Houses with consideration to family connections and balance of numbers. 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 of a former notable student.Pamphlet printed on cream coloured paper with navy blue ink. Two pages, folded in half.Obverse: tenns allowed 2 flat 3 teas 1 relay / 1 noveltie / 3 every thing entered in. / move for heats / Lanes 5 - 2 / First Page: under 15 50 yds. / 2. / 3 under 15 75 yds. / 4 / 5 / 6. Junior Crossball. / 7 / 8 / Second Page: 9 / 10 under 15. / 11 / 12 / 13 / 14 under 15 / 15 / 16. / Reverse: 21 Diamond Throwing open / 22 / 23 under 15 / 24 / 25 / 26 / 27 / Diamond / 28 / 29 / 30 / 31 / 32 / Junior under 15 1st July 1 Junior relay (?) / under 15 / Two sprints and potato go for championships /ruyton girls' school, students, school, ruyton, victoria, high school, senior school, day school, letter, old ruytonians association, kew, sport, school sport, girls' sport victoria, house, anderson, lascelles, bromby, daniell, athletics, glenferrie -
Nillumbik Shire Council
Photograph (digital print): Siri HAYES, Yellow Oranges and Purple Brown (from the series 'Loading'), 2017
The abstraction and colours refer to the modernist abstract expressionist painter Mark Rothko.Nillumbik Prize 2018 Winner. The artist lives and works in Nillumbik. Inspired by modernist abstraction the work is a reflection of current times, exploring our relationship with technology and its’ impact on our social, personal and professional lives. Blurred abstract image in warm colours: yellow, orange and brown. Loading circle in white at the centre of the image.photograph, digital print, rothko, modernism, instagram, abstract, loading -
National Wool Museum
Photograph - 01 Bendigo, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
Whitehorse Historical Society Inc.
Article, Neighbourhood of soap's most sacred site, 9/08/1998 12:00:00 AM
Sale of 6 Pin Oak Court in Vermont South better known as Robinson's Place in the T.V. series 'Neighbours'..Sale of 6 Pin Oak Court in Vermont South better known as Robinson's Place in the T.V. series 'Neighbours'.. Some interest shown from as far afield as 'The Times' in England.Sale of 6 Pin Oak Court in Vermont South better known as Robinson's Place in the T.V. series 'Neighbours'..pin oak court, vermont south, neighbours (television program), aldinger, james, grundy television -
Whitehorse Historical Society Inc.
Memorabilia - Box - Cigarette silks, 1911 - 1917
These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, Belinzona under construction, 2004, 28/06/2004
Formerly a guest house, Belinzona in Hepburn Springs has burnt down three times, and was rebuilt in 2004 with an increased footprint of around 1/3 of the previous. A series of photographs showing the third Bellinzona under construction. The previous two had burnt down.bellinzona, actea, hepburn springs, church avenue, seventh street, borsa crescent, wanda inn, fire -
Bendigo Historical Society Inc.
Slide - Adelaide Vale Homestead Fosterville
Adelaide Vale Homestead was begun in 1853 by John Harvey and was later occupied by Edward and Andrew O'Keefe. The building comprises a series of single storey stone buildings arranged behind a simple composed, verandah facade with a centrally located doorway flanked by windows. A central corridor leads from this doorway to a transverse corridor which was probably once an open breezeway. A free- standing octagonal pavilion is located close to the house. This is an interesting homestead dating from early times and constructed of local stone. The front facade is typically composed and the plan reflects the continuous growth of the property throughout the nineteenth century. The octagonal pavillion is a significant and unusual feature. The homestead is picturesquely sited and overlooks the Campaspe River valley, the Burke and Wills expedition camped nearby on their ill-fated expedition north. The old cheese factory is the sole survivor of the once extensive out-buildings. Some of the nineteenth century buildings have been demolished and there have been some later additions and alterations, notably an extensive side wing added in the 1920's. [In Butcher & Flanders, Bendigo Historic Buildings, 1987, the date of the house is given as 1868. Presumably this house replaced an older one on the property.]Adelaide Vale Homestead Fostervillehistory, bendigo, national trust collection bendigo, adelaide vale homestead -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene in the Carlton Gardens, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene in the Carlton Gardens’ : Views of Victoria (General Series) No.40 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Carlton Gardens are not so extensive as most of the other public gardens around Melbourne, and, being laid out on a flat piece of ground, have not the advantage of possessing much that is romantic in its scenery. The subject of this issue is the only interesting spot within the enclosure, which is the Rustic Fountain, surrounded by a small lake of water, on the banks of which grow some very beautiful specimens of the hanging willow. These Gardens are open to the public at all times.’nicholas caire (1837-1918), carton gardens, exhibition building, landscape photography - victoria -
Kew Historical Society Inc
Book, Herald & Weekly Times, One Hundred Years: the romance of the Victorian people, 1934
Originally written as series of articles in connection with the Centenary of Victoria.Melbourne : Herald & Weekly Times, 1934 432 p. : ill., ports. ; 21 cm. non-fictionOriginally written as series of articles in connection with the Centenary of Victoria. victoria - history -
RMIT GSBL Justice Smith Collection
Journal series, Law Times, The law reporter : the law times : reports containing all the cases argued and determined in the House of Lords, the Privy Council, the Court of Appeal in Chancery, the Rolls Courts, V. C. Kindersley's Court, V. C. Stuart's Court, V. C. Wood's Court, the court of Queen's Bench, the court of Common Bench, the court of Exchequer, the Bail Court, the Exchequer Chamber, the court for Crown cases reserved, the Probate Court, the court for divorce and matrimonial cases, the Admiralty Court, the Bankruptcy Court, the Insolvency Court, at Nisi Prius, Maritime law cases, together with a selection of cases of universal application decide in the Superior Courts in Ireland and in Scotland, [1860]
... in the Superior Courts in Ireland and in Scotland Journal series Law Times ...Previous owners: T. H. Smith, T. W. Smith, W. F. L. Owen (Langer Owen) No. of volumes: 686 Volume range: Law Times & Law Reporter - Vol. I N.S. (November 1859) - Vol. CLXXVII (December 1947), Weekly Notes - Vol. 1925-26 - Vol. 1952, Weekly Law Reports - Vol. 1953 - Vol. 2014 Missing volumes: Vol. XLI N.S. (September 1879 - February 1880) Also known as: The law reporter : the law times : reports containing all the cases argued and determined in the House of Lords, the Privy Council, the Court of Appeal in Chancery, the Rolls Courts, V. C. Kindersley's Court, V. C. Stuart's Court, V. C. Wood's Court, the court of Queen's Bench, the court of Common Bench, the court of Exchequer, the Bail Court, the Exchequer Chamber, the court for Crown cases reserved, the Probate Court, the court for divorce and matrimonial cases, the Admiralty Court, the Bankruptcy Court, the Insolvency Court, at Nisi Prius, Maritime law cases, together with a selection of cases of universal application decide in the Superior Courts in Ireland and in Scotland Weekly notes Weekly law reports Most volumes, especially early contain a book plate and stamp for W. F. L. Owenlaw reports: digests: etc. -- great britain -
National Wool Museum
Machine - Carding Machine, CSIRO, 1960s
After scouring, the wool fibres are still tangled together. Carding untangles the fibres by brushing and straightening. The wool moves through a series of wire brush rollers that revolve at different speeds and in different directions to tease apart the wool. The fibres emerge from the machine as a continuous filmy web - called a sliver. The sliver must be thinned and divided into strands before the next process. Carding machines constantly require tuning. A highly skilled technician maintained and adjusted the speed of the rollers on the machine. This machine was developed by the CSIRO in the 1960s as a small-scale experimental machine. Industrial carding machines were four times the size of this one. Gold plaque on display with machine until 2018 read: G.H. Mitchell & Son, Adelaide have celebrated 125 Years of involvement with the Australian Wool Processing Industry by contributing the funds necessary to restore The Carding Machine, Noble Comb & The Gill Box. Also another gold plaque read: Experimental Carding Machine donated to The National Wool Museum by C.S.I.R.O Ryde has been rebuilt by Nick Sokolov of Comb Research & Development with the help of Bernard Tolan.Carder with small roller missing at coiling end. Driven by three horse power motor. Wooden slated feed table synchronised to overall gearing.carding machine, machines, wool industry, manufacturing, wool processing -
National Wool Museum
Textile - Parsons Rolled Oats Bag
These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with colour image and black text. Image shows a full length brown horse with bridle.Front: PARSONS FARM ANIMAL SERIES No.3 \ SUFFOLK \ The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England \ and is noted for its hardiness. From 15 to 16 hands in height. The Suffolk in general is smaller than \ the Clydesdale. The head is rather coarse, with the neck short. The body long deep and wide with \ a round full appearance. The croup is straight and legs short and free from leather. The invariable \ colour is chestnut, varying from light to dark.wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen -
National Wool Museum
Photograph - 02 Wilkin, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 03 Wendy, Nicole Marie, Women In Wool - Photographic Collection
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 04 Katelynn, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 05 Chloe, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 06 Tilly, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 07 Panels, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie