William McMahon, Australia's 20th Prime Minister, served from 1971 to 1972. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthWilliam McMahon Prime Minister 1971-72william mcmahon, prime minister, prime ministers avenue, ballarat botanical gardens

Stanley Melbourne Bruce Australia's eighth prime minister served from 1923 to 1929. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthStanley Melbourne Bruce Prime Minister 1923-29

Joseph Aloysius Lyons, Australia's 10th Prime Minister served from 1932 to 1939. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of Ballarat Bronze bust cast on granite plinthJoseph Aloysius Lyons Prime Minister 1932-9prime minister, australian pm, joseph aloysius lyons

Earle Christmas Grafton Page served at Prime Minister 7-26 April 1939. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthEarle Christmas Grafton Page Prime Minister 1939prime minister, australian pm

John Grey Gorton, Australia's 19th Prime Minister. The Prime Ministers Avenue is a collection of bronze bust portraits of the Prime Ministers of Australia, located at the Ballarat Botanical Gardens in Ballarat, Victoria. The Prime Ministers' portraits are commissioned after the incumbent term of each Prime Minister by the City of Ballarat. The City of Ballarat has taken responsibility for commissioning the busts after funds set aside by politician Richard Armstrong Crouch were exhausted in 2014. Crouch originally donate money to pay for six busts, the first of which was unveiled in 1940. The collection of prime ministers' busts are unique in Australia, representing the only sculptural portrait collection of all past Australian Prime Ministers. The different styles used reflect the unique artistic practices of the selected artists; textures, sizes and features and proportions are used by the artists to interpret the characteristics of each of the subjects.The artwork is of historic and aesthetic significance to the people of BallaratBronze bust cast on granite plinthJohn Grey Gorton Prime Minister 1968-71prime minister, australian pm, john grey gorton

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Colour postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html Sepia postcard showing a street view of the Clunes Methodist Church,clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church, from the side.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Wesley College development. The image shows school buildings on a block next to the former Clunes Methodist Church.clunes wesleyan methodist church, wesley college

**This publication contains an image of Aboriginal and/or Torres Strait Islander children who may now be deceased.** In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1952, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication with a blue cover and printed on papyrus coloured paper. 55 pages.Front Cover: THE / RUYTONIAN / RECTE ET FIDELITER / DECEMBER, 1952 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

James Tissot is most famous for his artwork that depicts the European bourgeois society of the late 19th century. This societal period is often referred to as La Belle Époque, where affluent bourgeoisie living created a complicated mode of manners and dress. This subject matter used in his art made Tissot popular with the bourgeois society, however it made him unpopular with critics who deemed his works as of loose morals due to his subject matter. Tissot’s art style of Realism also put him at odds with his fellow artists and friends such as Degas and Manet who were greats of the European Impressionist movement. This print was made using the printmaking technique of etching, which allowed Tissot to make multiply prints of a particular artwork to sell on mass at a more affordable price to the general population who wished to emulate the bourgeoisie lifestyle of the wealthy.RealismRural City of Wangaratta Collection, Purchased with funds from the Wangaratta Art CouncilA rectangular portrait etching of a 19th century European young lady dressed in her best attire seated in a fashionable manner, printed in black ink on white paper. Obverse: J J Tissot/ 1883 (Artist's signature and date - located in the bottom right corner of the print)james tissot, 19th century, print, etching, portrait, tissot, wangaratta art gallery

This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board carved by Robert Prenzel.world war one, kalimna, kalimna honour board, h. clements, w.a. fish, d. mcdougall, j.a. rowe, c.c. sandford, c.d. somerville, l.j. cowlishaw, l.c. fish, t. hanson, c.a. innes, a.c. lester, j.a. lake, g.j. ward

St Patrick's Cathedral first conducted services from 1851 onwards, the parish of Ballarat was instituted in 1852.The first Parish Priest was Father Matthew Downing,who selected in 1853 the two acres site for this church which was granted under a crown Grant in 1855. The style of the church is early Gothic from the era of Edward the 1st in the 13th Century. (http://www.ballarat.catholic.org.au/parishes/default.cfm?loadref=93, accessed 13 November 2013) Bishop James Alipius Goold OSA (Bishop of Melbourne) celebrated Mass in St Patrick's Ballarat on Sunday November 8th 1863. The Bishop had laid the foundation stone for the Church in 1858 and by November 1863 the Church was sufficiently completed to be used on a regular basis. (http://stpatscathedral.weebly.com/, accessed 13 November 2013) See http://www.ballarat.catholic.org.au/aboutus/default.cfm?loadref=9 A series of coloured digital photographs showing the bluestone church known as St Patrick's Cathedral, Ballarat.ballarat irish, st patrick, st patrick's cathedral, st patrick's cathedral ballarat, church, gothic, bluestone

Ross House, formerly called Charleville, was built as a two-storey mansion in 1889 for Charles Donaldson. It was designed in the Italianate style by the architect H. Shallers and built by G. Ginham. Dr Tom King, surgeon purchased Charleville from Donaldson in 1939 and renamed it Ross House. This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Facade of Ross House (formerly Charleville) in Cotham Road, Kew. The image was selected by Dorothy Rogers for inclusion in 'A History of Kew' (1973), facing page 80.Ross House. Built 1889 by Donaldson. Known then as Charleville. Not published.ross house, charleville, cotham road, kew, dorothy rogers, charles donaldson, tom king, g. ginham, h. shallers

'The land on which 'Swinton'was later built was first purchased by John Bakewell in 1851 and later sold to Edmund Laskey Splatt in 1858. Splatt was a member of the first provisional committee of the National Bank of Australia in Melbourne and built the first house on the land naming it 'Laskey Villa'. By 1863 the house was occupied by Herbert Henty. The Johnson family connection with the property began with the marriage in 1858 of Annabella Johnson to David Syme, owner of the Áge' newspaper and owner of the adjacent property 'Blytheswood'. Annabella's brother, Francis Johnson, bought the villa in 1876 and renamed it 'Swinton' after his birthplace in Yorkshire. The property was later owned by the artistic Colquhoun family. The house is one of the earliest examples of the Italianate style in Victoria - the outstanding element being the tower with its cantilevered walkway and heavily bracketed pryamidal tower.' Source: Victorian Heritage RegisterThis work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical SocietySwinton in Kew and its tower. This side of the house faces the Yarra River.swinton, laskey villa, swinton avenue, kew, dorothy rogers

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. This blouse is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Pale aqua coloured long sleeved silk blouse with an attached scarf of the same fabric and colour at the neckLabel: TULLO (removed)norma tullo, women's clothing, australian fashion - 1960s, blouses

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes.The dress was owned, worn and donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long sleeved black cotton dress the fabric of which includes a pattern of small beige and cream polka dots. The ends of the sleeves and the base of the dress include ruffled trims of the same fabric. Label: TULLOnorma tullo, australian fashion - 1960s, women's clothing, day wear, mcintyre collection

Robert BARRON (1957- ) Born in Harpenden, England. Robert Barron first worked full-time with clay in 1976, the family pottery at Croydon, Victoria. In 1979, he left Australia on a five-year journey to New Zealand, North America, England, Europe, and South Korea to work with skilled potters in woodfiring. During this time, he visited Michael Cardew at Wenford Bridge Pottery, Cornwall, UK., and was engaged as an apprentice at Cornwall Bridge Pottery, Connecticut, USA. Returning to Australia in 1984, he established Gooseneck Pottery at Kardella, Victoria. With the assistance of a Crafts Board grant Robert Barron built a 1000 cubic ft five-chambered Nabori-Gama style woodfired kiln. This kiln one of the largest wood-fired kilns in Australia. Robert Barron is influenced by the philosophies of Bernard Leach and Michael Cardew.artwork, artist, ceramic, gippsland campus, robert barron

Miranda was a very popular journalist of this era, whose homely style appealed to many readers, especially women, her main audience in her writing. Here she talks about renting a new demonstration holiday home (probably a Coldon Home), which, although small, had a 'dream kitchen'. She describes the birds and walk through the wattle to the beach, but also the many blocks for sale and wonders what the island will be like in 10 years time from their visit. Her son drove them to Pyramid Rock where they almost got bogged on the road. They visit the usual spots, which she describes with a combination of curiosity and enjoyment. She also mentions another block fenced off on the main road which was a gift from the ratepayers of Phillip Island, and which the Young Farmers were to plant out for koala trees.This article is significant because thousands of Weekly Times newspaper readers read Miranda’s letter article without fail each edition. She describes renting a house for a holiday, which indicates the move away from family holidays in guest houses. She also describes some of the rough roads in parts of the island at the time. She concentrates on the island’s natural attractions rather than man- made tourist attractions, which is also significant in letting us see why people would visit Phillip Island in that era. Miranda also predicts the explosion of the holiday home owner market which took place soon after, and continues today though in a more controlled way.Photocopy of newspaper article cut out from full page. Cutting has three columns of text, no images. Black text on white paper. Dark areas due to poor photocopyingWEEKLY TIMES / 2/9/65phillip island, miranda, weekly times newspaper, holiday home, phillip island flora and fauna, pyramid rock, phillip island pengiun parade, young farmers, phillip island beaches, cuddly koala bears, phillip island housing estate land sales

This honor board was made by Robert Prenzel (1866–1941) who was born and trained in Prussia, and migrated to Australia arriving in Melbourne on 24th November on the steamer Habsburg. In Melbourne Prenzel first worked for the German sculptor and modeller Otto Waschatz, decorating private homes and public buildings. From 1891-1901 Prenzel worked in partnership with another German, Johann Christian Treede, after which he continued in business on his own. He also participated in the activities of Melbourne’s Deutscher Turnverein. During the first quarter of the current century he became the major exponent in the field of furniture and woodwork of the cult of nationalism, and was renowned for his carvings, many of them in the art nouveau style, of Australian animals, birds, trees and flowers. The two most common types of Australian timber in his work are mountain ash and blackwood.Colour photographs of a beautifully carved World War One Honour Board by Robert Prenzel.lakes entrance, robert prenzel, world war one, lakes entrance honour board

Basket weaving and brush making was a source of income for those who worked in the workshops at RVIB and other institutions in New South Wales and Queensland. A diverse range products could be produced with cane, such as cane chairs, cots, washing baskets and trolleys, and the Institution sought to highlight these in the annual report. Over time the demand for, and supply of, cane changed - particularly during World War 2 when Asian sources were under attack or destroyed. At home, other materials such as plastics as well as the ability to import cheaper pre-produced products further reduced the demand for workshop pieces. Generic style basket that would have been used for shopping or any household task requiring movement of multiple items. Cane baskets were the original green alternative to plastic shopping bags. Note that the handle is deliberately askew, for easier carrying against the hip.1 cane basket with askew handleemployment, royal victorian institute for the blind

Used to clear scrub and undergrowth and to trim branches during seed collection. Manufactured by Martindale of Birmingham (England) - being Ralph Martindale and Company Limited. Established in England in 1874, the company is a manufacturer of hand tools, particularly machetes made from hot-rolled British steel. The three grooves on either side of the blade assist in removing the blade from sapwood. They extend to the tang of the blade to form a mechanical lock with the handle. The handles are made from German beech wood. The British Bolo style machete was the one most commonly used by the Australian Army during WW2. A canvas scabbard was issued with the machete. The scabbard has brass reinforcement of the throat and seven brass rivets holding the longitudinal closure. On the reverse of the scabbard is a webbing belt loop with an extension and loop with a brass press-stud to hold the machete handle They were acquired by the Forests Commission as Army surplus. Steel-bladed machete with wooden handle held by three brass rivetsforests commission victoria (fcv), hand tools

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

A colour postcard from Nanda Binya Lodge in Marysville that was produced as a souvenir of Marysville.A colour postcard from Nanda Binya Lodge in Marysville that was produced as a souvenir of Marysville.NANDA BINYA LODGE,/ WOODS POINT RD.,/ MARYSVILLE, VIC. 3779./ 'Phone (059) 633433/ A lovely bush setting in the mountains only/ a 10 minute drive from Lake Mountain/ Alpine Reserve. New modern architect designed/ Scandinavian style Lodge./ -Sauna/ -Pool (HOT SPA TUB/ -B.Y.O. Restaurant/ -Nordic Ski, Toboggan, Bicycle and/ Fishing Gear hire./ -Large, well designed units, with private/ facilities for a top standard holiday/ -summer or winter at reasonable rates/ -relax Scandinavian at Nanda Binya. Single booking or groups of up to 30 *Special Activities include - ski/ movies, discos, nightime nordic skiing. W484M Stampmarysville, victoria, australia, nanda binya lodge, accommodation, postcard

The Water Tower is a major landmark of High Street, Wodonga. Construction of the Water Tower was completed in early 1924 and after thorough testing throughout that year, the completed new water system for Wodonga was officially opened on 4th December 1924. It was decommissioned in 1959. It stood unused until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. The community celebrated its centenary on 4th December 2024. This picture frame was created from timber taken from the ladders that were inside the Tower, allowing access to the water tank itself and the external balconies. It was donated to the Wodonga & District Historical Society at the Centenary Celebration.This item is significant because it is made from timber from the original ladders inside the Wodonga Water Tower.A timber frame made from sections of timber from the ladders once part of the Wodonga Water Tower.On sign at base on frame: In 2012, the company I worked for won the contract to replace the wooden internal ladders in the Wodonga Water Tower. The disposal of the ladders was included in the contract. Realising the significance (and age) of the wood, I decided to keep most of it. In 2018, I had Trent Keller of TKEL Furniture in Wodonga design and make a Wine Rack from the ladders. Trent's amazing design kept the "ladder-style" look and produced a beautiful Wine Rack. This Photo Frame has been made from the last remaining rungs. it is both mine and Trent's pleasure to donate this amazing piece of our town's history. Scott Fraser and TKEL Furniturewodonga water tower, landmarks wodonga

Plum Cottage is covered by Heritage Overelay HO256 in the Nillumbuk Planning Scheme This two-lot land holding was created as a subdivision and sold to Charles Stuart McNeil by May 1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The designer, John M. Harcourt was a pioneer builder in pise-de-terre and mudbrick in the Eltham Shire, Eltham being synonymous with alternative lifestyles and building practises until the onset of suburbia in the late 20th and early 21st centuries. This hipped-roof house is set high above Main Road on a V-shape plan characteristic of the Arts & Crafts style, with rammed earth or pise walls, timber joinery and a cement tiled roof. The V shape plan was used by important English and Eltham Arts & Crafts designers. The use of natural materials such as stone and timber construction is an essential part of the Arts & Crafts style and Harcourt’s work. So too is the application of the style on both the exterior and interior of the house as a holistic concept. The house adjoins the Lim Joon adobe house built and designed by Alistair Knox in the same era (HO119), thus forming a distinctive pair, both using an uncommon plan form. This house was identified in the Shire of Shire of Eltham Heritage 1992 as contributory to the Eltham Gateway Conservation Area, then proposed as an urban conservation area (now Heritage Overlay Area). Land Ownership Emily Jane Smith of 12 Woodside Street Fitzroy owned Crown Allotments 1 & 2 Sections 14, 27 by August 1918, selling to William Henry Smith of 12 Woodside Street, Nth Fitzroy May 1921. (John) James Isherwood of Main Road, Eltham owned the property by 1928 (the year of his death) with the beneficiary of his estate and next owner of this site being his widow, Minnie Maria Isherwood of Cemetery Road, Eltham. His holding in Main Road included parts of what was described in rate records as allotments1 & 2 Section E6. In the late 1930s, early 1940s her son Alfred John Isherwood was also rated for the land around this site, with the rated nett annual value varying between £2 and £5. Alfred Isherwood also lived at Main Road, Eltham with his wife Ellen: her early death at the age of 24 was reported in the Argus of 1923. Part of the Isherwood land was divided off and sold to Charles Stuart McNeil by May1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The house is visible on an aerial photograph from 1960s. Reputedly the house was called Plum Cottage and erected for Harcourt’s mother-in-law. A garage was added in 1959. Charles McNeil died in1971 aged 87: he was the son of Don McNeil and Margaret Arkell. Available rate records from the construction era start in the of the 1970s (1972-3) and list Mr H.C. & M/S A.V. Charity at 616 Main Road Eltham of this property with a nett annual value of $740. More recent valuer's data describes the property as lots 1 & 2 LP25668, located in the Central Riding of Eltham Shire, owned by Ann Valerie Charity and later, in 1990, by the Chincarini family. Building Description This hipped roof 11 .5 square house is set high above Main Road on a characteristic-shape plan and has rammed earth or pise walls, timber joinery and a cement tiled roof. The V-shape plan was used by Important designers such as C.F.A. Voysey (UK) who interpreted medieval domestic architecture as part of the Arts & Crafts style of the late 19th and early 20th centuries. The pise walls are covered with a textured render while the cement roofing tiles are also seen in the Harcourt Hill examples. Reputedly the ceiling joists are of a deep section and span long lengths with no need for hanging beams in the roof space. The ceilings are low and panelled in main rooms with apparently Caneite soft board infill panels between the exposed ceiling beams. These are painted white but may have been stained at one time. The focus of the house is the large living area with its vast random stone fireplace. Significance Plum Cottage is significant to the locality of Eltham because: Historically: • Plum Cottage is closely associated with the important historical theme of earth construction evident in Eltham and elsewhere in the Shire since theear1y Arts & Crafts inspired creations at Penleigh Boyd's The Robins (1912, HO101) and those at Montsalvat (1934-, HO82) but more prominent from the Second War period when earth building in Eltham was promoted in national periodicals as an alternative building method that avoided the building materials shortages of that era; • The choice of the earth building technique also expresses the theme of refuge or alternative living, synonymous with Eltham in the early to mid 20th century; • as a good example of domestic architecture from John Harcourt who was the first major post Second War figure in an important phase of Eltham’s earth building development, using his characteristic Old English or Arts& Crafts style that relies in this case on the pise wall construction, pitched roof forms, exposed ceiling joists, half timbering, random stonework, and panelled internal wall finishes. Architecturally: • Plum Cottage's pise wall construction is uncommon among the early earth-walled structures in the Shire, that are mainly of adobe or mud brick, and as a building material is uncommon among the Shire’s suburban dwellings generally which are clad typically with either fired clay bricks or timber boarding. Aesthetically: • Plum Cottage is a good and well preserved example of a modern Old English or Arts & Crafts style earth-walled building in the Shire • For the proximity of the significant Lim Joon adobe house designed by Alistair Knox adjoining to the north, providing a distinctive earth wall house pair, with uncommon plan forms. Reference Heritage Assessment of Plum Cottage, 616 Main Road, Eltham; Graeme Butler & Associates 2010main road, eltham, property, houses, (john) james isherwood, alfred john isherwood, ann valerie charity, arts and crafts style, charles stuart mcneil, chincarini family, eltham gateway zone, emily jane smith, h.c. charity, heritage assessment, john harcourt, john m. harcourt, lim joon house, main road eltham, minnie maria isherwood, pise construction, plum cottage

1. Shirt - light khaki colour cotton/polyester fabric - short sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. Left sleeve - oval fabric patch, embroidered "Rising Sun Badge" "THE AUSTRALIAN ARMY" - fabric patch, embroidered, crossed rifles. Right sleeve - fabric patch, embroidered, Australian Coat of Arms - Warrant Officer 1st Class. White cotton manufacturers label, back, below collar - illegible. 2. Trousers, Khaki colour wool/polyester fabric. Service Dress style with fob pocket, two side pockets, one back pocket with button down flap. Plastic buttons, metal zipper fly, khaki colour polyester fabric waist and pocket linng. White manufacturers label back pocket lining. Manufacturers information on label: black ink print. 2. "ADA 4500299219/ 2005/ NSN: 8405 66 140 7088/ size w.82il 78/ name/ service no./ 50% wool 50%/ dry clean only (P)/ repress on original/ creases, damp cloth/ or medium to hot/ steam iron/ MADE IN AUSTRALIA"uniform, army, service dress

1. Jacket - Khaki colour wool serge fabric, battle dress style, belted at the waist with metal buckle. Green colour plastic buttons. Collar, shoulder epaulettes, two front pockets with button down flap. Shoulder sleeve insignia, navy blue colour with gold embroidered lettering "ROYAL AUSTRALIAN ELECTRICAL AND MECHANICAL ENGINEERS". Rank Insignia - lower sleeve - Warrant Officer, Class 1. Manufacturers white cotton fabric label, inside left pocket. 2. Trousers - Khaki colour wool serge fabric. green plastic button, metal zipper fly, Fob pocket, two side pockets, one back pocket with button down flap. Manufacturers white cotton fabric label, back inside waistband.1. & 2. Manufacturers information - black ink print "BERENSEN PTY LTD/VICTORIA 1961/62/ NAME/ SERVICE NO./ DRY CLEAN ONLY/ PRESS IN ORIGINAL/ CREASE LINE/ USE DAMP CLOTH OR/ STEAM IRON/ MEDIUM TO HOT RANGE/ CREASE SET BY SIRO SET. Black ink stamp "DM FIELD/ WO2/ 313679".uniform, army, battle dress

Uniform issued to Warrant Officer 2nd Class. "R. HOSKING", "ROYAL AUSTRALIAN ARMY CORP OF TRANSPORT".1. Jacket, khaki colour wool/polyester fabric. Service dress style with belt. Gold colour plastic buttons with shank and split ring. Buttons have raised emblem and letters - "Royal Australian Army Corp of Transport". Collar, shoulder epaulettes, four front pockets, top two with buttons and two metal press studs on flap, lower button down flap. Two lapel badges - metal, for Royal Australian Corps of Transport. Two rank insignia on sleeves - crown - Warrant Officer 2nd Class. Green colour polyester fabric lining with white cotton manufacturers label inside right. 2. Belt, khaki colour wool/polyester fabric with plastic buckle and leather belt keepers. Green plastic buttons.Manufacturers information on label - black ink print. 1. KEITH COURTNEAY PTY LTD/ VICTORIA/ 1978 1979/ ^/ NAME/ SERVICE NO" "HOSKING R.D." - handwritten black ink pen. "W/02 THOMAS R.J. type written black ink. " 4362/ 42R" Size label - handwritten black ink.uniform, army, service dress r, r. hosking