The photograph is from the album of Ivy Child. It gives an insight into the size and make up of the settler selections in Kalorama between 1927 and 1932. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white photograph looking from a flat, grassed area up a hillside. There has been significany clearing of trees with a patchwork of crops planted. A fence is visible in the foreground.ivy child, kalorama, selections

Photograph is from the album of Ivy Child. 'The Old Homestead' refers to either the Kalorama homestead of Ivy's parents, Ted and Ethel Child or her grandfather, Matthew Francis Child. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white photograph of a homestead with three tall tree ferns in the foreground of an established garden. Several buildings are to the right with a man standing beside them.Handwritten below the photograph in the album: The Old Homestead.ivy child, homestead, kalorama

Photograph is from the album of Ivy Child. The back view of the homestead is either the Kalorama homestead of Ivy's parents, Ted and Ethel Child or her grandfather, Matthew Francis Child. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white close up photograph of the rear of a wooden building. A girl holding a sun hat is standing with her arm on the tray of an old truck.Handwritten below the photograph in album: DOWN BELOWivy child, kalorama, homestead, farm, matthew francis child, child, ted child

The photograph is from the album of Ivy Child. The homestead depicted belongs to Ivy's parents Ted and Ethel Child. It was part of the Child Family land at Kalorama. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white photograph showing two women wearing sun hats and dresses walking down a pathway to the gate of a homestead.ivy child, ted child, ethel child, homestead, kalorama, child

The photograph is from the album of Ivy Child. The original black and white photograph is also in the album. The homestead shown belonged to Ivy's parents Ted and Ethel Child. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. A black and white photograph that has been coloured. It shows a scene of a homestead with a post and wire fence at the front and tress beside it. Hills can be seen in the distance.homestead, ivy child, ted child, ethel child, kalorama

The photograph is from the album of Ivy Child. The woman standing on the veranda is her mother Ethel Child (nee Madden). The homestead is on Childs Road and belonged to Ted and Ethel Child. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white photograph showing a woman wearing an apron standing on the veranda of a wooden homestead. Ferns are in the foreground and around the building.ethel child, ted child, homestead, childs road

This photograph is from the album of Ivy Child. It shows her parents Ethel and Ted Child (rhs) standing on Childs Road with another couple and their two young boys. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Sepia photograph showing two men, two women and two young boys standing in the centre of an unmade rad. Ferns and trees are growing up to the edges of the road.Handwritten below the photograph in album: Child's Roadted child, ethel child, childs road, bush

The photograph is from the album of Ivy Child. It shows Ivy's mother Ethel Child (LHS) standing on Childs Road with another couple and their two young sons. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Sepia coloured photograph showing two women and a man standing with two young boys in front of them on an unmade bush road. The man is wearing a hat.Handwritten below the photograph in album: TAKEN ON CHILDS RDivy child, ethel child, childs road

The photograph is from the album of Ivy Child. The homestead appears to be that of Ted and Ethel Child. The people in the photograph have not yet been identified but are most likely family members. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Sepia coloured photograph showing a group of people in the yard of a homestead. One young man on a motorbike is wearing a cap and smoking a cigarette.A woman nursing a child is in the sidecar of a motorbike while a young girl is on the pillion seat. A man wearing a hat and smoking a pipe is standing between the two motorbikes. A young man in a jacket is standing behind the motorbike with sidecar. In the distance a man and young girl are standing in the open doorway of a shed.Handwritten below the photograph in the album: SEEING THEM OFFivy child, chhild homestead, motorbike, side car

The photograph is from the album of Ivy Child. The young woman standing on the bridge is Ivy Child probably aged 17 years. The location is the Olinda Falls. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Black and white photograph showing a young woman standing on a wooden bridge with a handrail above a creek. Rocks are in the foreground in the creek and bush surrounds the scene.Handwritten below the photograph in the album: The Fallsivy child, olinda falls, bridge

"This society was founded in 1891, when there was a considerable amount of distress on account of the collapse of the land boom. The first office-bearers were: President, Mrs. F. R. M. Wilson; Hon. Secretary, Mrs. S. Kellett; and Hon. Treasurer, Mrs. J. Lorimer. The society has had a useful career and been of great assistance to many families. One of its best workers was Mrs. G. Wharton. The present committee consists of Mrs. H. Collier (President), Mrs. Holdsworth (Vice-President), Mrs. Archer (Hon. Treasurer) Mrs. E. J. Dunn (Hon. Secretary), and Mesdames. Berry, Gillespie, Israel, Jellis, Kerr, Lilley, McCrea, Paton, Spring, Tappin, and Wishart." (Source: Barnard FGA, Jubilee History of Kew, 1910)The Kew Ladies' Benevolent Society was one of the most important women's groups in Victoria in the late 19th to mid-20th century. It was led by women with a national profile and was instrumental in the establishment of the State umbrella organisation. The Minute Book was presented to KHS by the Victorian Association of Benevolent Societies in 1991.Seller label on inside cover.kew ladies' benevolent society, social welfare - history - kew (vic), social services - history - kew (vic), volunteer organisations - kew (vic)

The photographic firm of Morrison & Co., were active at 81 Bourke Street East during the 1880s. Like numerous other photographers in Melbourne, their business must have been severely curtailed by the Depression of the 1890s. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Both portraits are of the same woman.Cabinet Card by Morrison & Co. Silver albumen studio portrait of a woman later identified as Mrs Merritt of Kew. The sitter wears a dark, figured silk two-piece outfit with matching bonnet and a fur muff. Mrs Merritt, Kewmrs merritt, morrison & co

The National Trust (Victoria) citation on the Heritage Victoria Database describes Lalla Rookh as charming and rare example of a substantial domestic building from the depths of the depression of the 1890s. It was Classified by the Trust on 22/04/1971. The first Kew Urban Conservation Study established that the house was built in 1897 for John Duncan, civil servant. By 1910 William Robert Frayne, chemist, had purchased the property. When the building was listed by the National Estate the building was described as: '... Single-storied, the symmetrical, stuccoed house features a central porch with an arched opening and pedimented consoles and a bull-nose verandah which returns down both sides and is constructed with cast iron columns and friezes. A balustraded parapet crowns the main walls of the house. The encaustic tiled verandah is distinctive.'"Lalla Rookh", 41 Fellows Street, Kew, is of architectural interest as a representative example of a villa house of the period and also forms pan of the townscape of Kew. In a late version of Boom Style Classicism, the basically modest and conventionally planned house is proportioned to emphasise the porch and heavy balustrade, contrasting with the verandah and plain wall surfaces. The parapet may have had urns originally. The encaustic tiled verandah is of note. ... Of local significance.'Photographic print positive of the facade of Lalla Rookh at 41 Fellows Street, Kew.lalla rookh, houses -- fellows street -- kew (vic.), boom style architecture, architecture -- melbourne -- 1890s

F.G.Barnard, writing in 1910, recorded that Ernest Ingle opened a boys' school in a private house in Cotham Road, Kew, in 1872. The school was later moved to larger premises in Charles Street, where suitable school rooms were added. Ingle's career was cut short by a fatal attack of typhoid fever in 1875. The school then passed into the hands of Mr. J. Henning Thompson. Under Thompson's management the school speedily became a strong rival to the neighbouring Hawthorn Grammar School. Barnard also lists in his Jubilee History of Kew, that Dr N.C. Vance [winner of the trophy for the 440 yards running event] was a notable alumnus of Kew High School. It is assumed that N.C. Vance was the son of Rev G.O. Vance who was appointed vicar of Holy Trinity Church, Kew, in 1870. This is a tangible memento of the first Kew High School, awarded to a pupil eight years after the school's establishment. The trophy is historically interesting as it was presented to N.C. Vance by Ann Bon, a notable Kew resident and a supporter of Indigenous People in Victoria, particularly William Barak and his family.Silver plated trophy in the form of a cup on a pedestal with two arms, each surmounted with pine cones. The trophy has a range of design features including convex and concave decorated surfaces created by repoussé (i.e.hammering). Specific decorative aspects include scrolling at the top of the cup and floral sprays at front and the rear of the trophy. There is a single inscription identifying the school, the event, the winner and the identity of the person presenting the trophy. The metal used in the cup section of the trophy is heavier and thicker than that used in the rest of the trophy.There are no compositional or maker marks on the trophy.Inscribed: "Kew High School / Old Boys Cup / Presented by / Mrs John Bon / Won by / N Vance 1880"dr n vance, kew high school -- kew (vic.), private schools -- kew (vic.), sports trophies -- kew (vic.), n.c. vance

George Rimington established The Parkhill Nursery in 1877. By 1910, it was more commonly known as Rimington’s Nurseries and well known for its sale of violets. After World War II, Rimington’s Nurseries were gradually subdivided and sold. The 38 allotments were released in sections, including lots 34 to 36 on the corner of Mont Victor Road and Victor Avenue. Previous lots in the subdivision had bordered Burke Road, Rimington Avenue, Heather Grove, and Stoke Avenue. The selling point as it had been in comparable estates for a century were the proximity to transport, schools and churches, as well as the high location and excellent views. The subdivision plan shows most of the lots in the entire subdivision: 1-11, 13-26, and 34-38. Presumably, lot 12 and lots 27-33 were still to be released.Subdivision plans are historically important documents used as evidence of the growth of suburbs in Australia. They frequently provide information about when the land was sold on which a built structure was subsequently constructed as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.Subdivision plan advertising five superb home sites among lots in Burke Road, Stoke Avenue, Victor Avenue, Mont Victor Road and Heather Grove.subdivision plans - kew, rimington avenue -- kew (vic.), heather grove -- kew (vic), stoke avenue -- kew (vic.), burke road -- kew (vic.), mont victor road -- kew (vic.)

The house was built in 1910. The Clota and Sans families were part of a group of families of Spanish (Catalan) background who lived around Surrey Hills, many of whom are buried in Box Hill Cemetery. The house was built for Antonio and Josepha Clota and passed on to their daughter Josephine Sans and her family. Antonio's full name: Antonio Eusebio Miquel CLota (1869-1940; died Surrey Hills) had 3 brothers who came to Australia with him. Louis Clota (1864-1925); Marcus Clota (1866-1940) died Surrey Hills; Eusebio Clota (1869-1919). Their parents remained in Spain. Josephine Clota and Kim Sans had photos taken on the front entrance to the house when they were married on 9 May 1919. The wedding was reported in Punch.Black and white photo of the home of Mr and Mrs Antonio Clota; later the home of their daughter Josephine and son-in-law, Kim Sans and family. It shows bluestone curb and channelling in Union Road and a substantial wire mesh fence. The street tree looks like a plane tree and is a relatively young plant. Ther house is single storey brick with a tile roof and solid pillars supporting the verandah.houses, antonio clota, josepha comellas, josepha clota, catalan families, josephine clota, josephine sans, kim sans, joaquim sans, francis clota, frank clota, box hill cemetery

The Type 62 is a re-badged British Pattern 1907 bayonet. Siam purchased 10,000 SMLE rifles and Pattern 1907 bayonets from Britain in 1919 to equip the "Wild Tiger Corps," royal bodyguard of Vajiravudh, King Rama VI (reigned 1910–1925). The tiger figural on the ricasso is representative of the Wild Tiger Corps. Year 2462 on the Buddhist Calendar corresponds to 1919. SMLE rifles and Pattern 1907 bayonets were taken from British stocks, refurbished by Birmingham Small Arms (BSA), and remarked with Siamese markings. The bayonets were shipped with standard steel-mounted leather scabbards. However, the leather rapidly deteriorated in the tropical climate, so the Siamese made a replacement steel scabbard body to which the original steel mounts were brazed. Sword bayonet for use with the .303 caliber Short, Magazine, Lee-Enfield No. I Mk. III (SMLE) rifle.A tiger head on the left side with some symbolsww2, world war 2, bayonet

The Type 62 is a re-badged British Pattern 1907 bayonet. Siam purchased 10,000 SMLE rifles and Pattern 1907 bayonets from Britain in 1919 to equip the "Wild Tiger Corps," royal bodyguard of Vajiravudh, King Rama VI (reigned 1910–1925). The tiger figural on the ricasso is representative of the Wild Tiger Corps. Year 2462 on the Buddhist Calendar corresponds to 1919. SMLE rifles and Pattern 1907 bayonets were taken from British stocks, refurbished by Birmingham Small Arms (BSA), and remarked with Siamese markings. The bayonets were shipped with standard steel-mounted leather scabbards. However, the leather rapidly deteriorated in the tropical climate, so the Siamese made a replacement steel scabbard body to which the original steel mounts were brazed. Scabbard bayonet metallic slightly tapered rectangular with rounded edges; oval belt nob on blazed steel top of the bayonet and a blazed steel bottom; the body is steel with dents and a wear holes on one side.ww2, world war 2, bayonet

"Although horse breeding and racing was an established and popular tradition in the district by the 1900s, one horse is credited with raising the profile of the industry in Melton during this period. The Welkin was bred in England and brought to Melton in 1910 as the foundation sire of Ernest Clarke’s Melton stud. Clarke, brother of Sir Rupert, enjoyed remarkable success with his champion stallion. By the time of the horse’s death in 1925, The Welkin had sired individual winners, with total winnings of almost £600,000. His most celebrated offspring, Gloaming, achieved 57 wins from 67 starts and won a then-record of £86,000 in prize money. The Welkin was buried at the entry gates to Clarke’s Melton stud under an inscribed marble headstone, as the racing world mourned the loss of ‘one of the most successful sires that ever did stud duty in Australia".Articles about Welkin the Champ featured in The Mail Express and Melton Express local identities

Appears to be original to Chalet. Used to display trophies won by guests for various winter sporting competitions. Similar cabinet stored in garage. Also in original location. 'The Chalet's lounge area and nearby spaces include various cabinets. The most eye-catching is the tall metal-framed, glazed cabinet standing in the commanding position at the entrance to the Ballroom at the historic core of the Chalet. It once displayed an array of trophies and silver cups relating to various snow sports that the Chalet had fostered since its opening in 1910. A photograph taken in c.1937 shows the same chrome-framed cabinet with squat cabriole legs standing in the same position in the hall, confirming that it has stood there for decades (fig 36). It is still in the same location in 2011... Some of the old trophies that once graced the cabinet disappeared in the 1980's.' Listed in Draft Inventory of Significant Collection Items. Solid, chrome edged display cabinet with three glass sides. Back section is mirrored. Features two glass shelves. Base of cabinet features four claw feet. Green felt on base of cabinet interior.

This cabinet is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Hilda Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable. it was a wedding gift to Mr Franz Streizel's daughter Frieda Streizel approximately 1910. A heavily inlaid veneer two door cabinet with carved Egyptian style heads in the middle of each door set in a triangular pattern. There are two small drawers and one long drawer at the bottom of the cabinet. Keys are kept nearby in a wooden box in the same collection.cabinets, furniture, storage and display furnirure

This photo is part of the Fred Griffith Photographic Collection. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. He was one of the pioneers behind the development of Falls Creek and an inaugural member of the Albury Ski Club. The Nissen rope tow was built by Toni and Skippy St Elmo in 1951, but after 5 years it became obvious another tow was needed for the novice and intermediate skiers. A proposal was put to the Management Committee to erect a Village rope tow, with interested people becoming shareholders. This tow, designed by Albury engineer, Jock Wilson, was working by 1958. Fred Griffiths and some of his family members were amongst the shareholders. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992.This image depicts an important development allowing further access to Falls Creek Alpine Resort.A black and white photo of the opening of the Village Tow at Falls Creek in 1959. It shows the buildings and a group of people gathered for the occasion.fred griffith, albury ski club, falls creek, bowna ski club

Singer was first established as I. M. Singer & Co. in 1851 by Isaac Merritt Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. The Singer company began to market its machines internationally in 1855 and won first prize at the Paris world's fair that year. They had offices established in both Sydney and Melbourne by the mid-1960s. The company demonstrated the first workable electric sewing machine in 1910. Singer was also a marketing innovator and a pioneer in promoting the use of instalment payment plans, making their machines more affordable for many people. According to its serial number, this machine was manufactured in 1950 and was one of the new models designed to be more portable as it only weighed about 10 KG.This sewing machine is of local, national and international significance as it represents developments in technology and the impact this had upon the work of women.The Singer 99 was a sturdy and reliable machine that was easy to use. Lighter than other machines of its time, this machine weighed only 10 Kgs. It is mounted on a wooden base with a small compartment under the balance wheel to store accessories and bobbins. It has a 'Bentwood' (polished plywood) cover which also provided some room for storage. The machine is driven by a small electric motor and a light to illuminate the work area. It is decorated with gold decals and a filigree pattern. It includes a knee control which is inserted in a hole at the front of the machine. The serial number EG045782 indicates it was manufactured in 1950.Across the top in gold script: "The Singer Manufacturing Co. / Made in Great Britain" On light cover: "SINGER" Plate with specifications also attached. On front of machine in oval badge: A CENTURY OF SEWING SERVICE/ THE SINGER MANFG. CO. 1851 - 1951singer sewing macnine, domestic appliances, women's work, technology

This simple rear cottage door at Hymettus built 1900-1901 has been the back door since the early 1900s. Photos in the family collection however, reveal that it was originally the return front verandah door to the dining-room and the transition seems to have occurred about 1910 when a new door was installed for the front verandah to complement the art-nouveau lead light transom and surrounds to the main front entrance. A similar simple glass and two panel cottage door closes off the passage from main passageway to the kitchen and service end of the home so that the home presents as more simple in the service area fittings with more decorative features to the more important front rooms of the home reflecting the progression of style as the family had more money to spend on the home.

Black and white photograph of cattle and horses in the Grand Parade on the Melbourne Showgrounds Main Arena, 1954. In 1910, horses and cattle at the Royal Melbourne Show were paraded together for the first time in a ‘Massed’ (Grand) Parade. This innovation proved very popular with exhibitors and the general public alike. The Grand Parade continued to be a Show highlight and in 1952, with the inclusion of all horses for the first time, it became even more of a spectacle. Together with the animals, harness vehicles and Clydesdale wagons were included in the Grand Parade. The following year, as a tribute to the new Queen Elizabeth II, the annual show was named the Coronation Show and for the first time floats from various country agricultural societies were included in the Grand Parade. The final Grand Parade took place in about 2004.A black and white, landscape photograph on glossy paper with a white border.royal melbourne show, grand parade, horse, horses, cattle, agriculture, agricultural shows

Bacchus Marsh Dairymen's Co-operative Association factory began in 1910. The Co-op, as it was known locally, also had a store in Main Street. This butcher's shop was opened in 1923 and was located at 160 Main Street. The Co-op purchased milk from local farmers and trucked the milk direct to a factory in Melbourne. Due to financial difficulties, the Co-op ceased trading in the early 1980s. Records show that this site was in continuous use as a butcher's and allied industries from 1856 to 2011. The original building underwent several changes and additions until it was sold in 1922 to the Dairymen's Co-operative, who erected a new brick building in 1923. This building housed the Hospital Opportunity Shop from 2011 until 2016 when it was taken over by Natural Health and is still in use by this business.Black and white photographic print mounted on grey cardboard with decorative borders. Photo shows staff standing in front of the shop with two store signs. Along the top the verandah a sign reads: CHOICEST MEAT SUPPLIED. The lower sign along the top of the shop frontage reads: DAIRYMEN'S CO-OPERA. This sign is incomplete, indicating that the butcher's shop was part of the Dairymen's Co-operative Association store. At the front of the store six members of the staff stand in a line. There are five men, all wearing the traditional blue and white striped butcher's apron and one woman who is probably the cashier. At the top of the cantilever verandah, two rolls of canvas awning are tied up, ready to be let down on a hot day. On the left of the photo a portion of the brick Baptist Church can be seen. The store frontage continues to the right. The reflection of the store on the opposite side of the street can be seen in the window. The store frontage is finished with tiles along the bottom of the display window and an inset of leaded glass along the top of the window. On the footpath there is a scattering of sawdust, once used traditionally in butcher shops to soak up blood from the meat. The end of a 1920's vehicle has been captured as it passes in front of the store. On the back: On a printed label: OPENING OF BACCHUS MARSH DAIRYMAN'S CO-OPERATIVE BUTCHERS SHOP. 1923 L. to R. Norm Farrow, Sheila Muir, Bill Bence, Norm Mathews, Jim Cash and Ern Coe, (Manager). shops bacchus marsh vic., bacchus marsh dairymen's co-operative association, butcher's shops, main street bacchus marsh vic.

These items are from the Warrnambool Woollen Mill and relate to the fire protection services operating at the factory in the late 20th century. The Warrnambool Woollen Mill was commenced as a local public company and opened in 1910 in South Warrnambool with the first manager, John Bennett. During World War Two there were 700 employees at the mill due to wartime demand. In 1958 the factory became the first in Australia to manufacture electric blankets. In 1968 the mill was purchased by the Dunlop company and in 1982 Dunlop sold out to Onkaparinga Woollen Company which was taken over by Macquarie Worsteds and became known as Warrnambool Textiles. When Macquarie Worsteds ceased operations in Warrnambool the Smith Family managed the factory on behalf of the owners, the Warrnambool City Council. In 2000 the Woollen Mill closed and the site has been sold and developed as a housing estate.These items are of minor interest as mementoes of the Warrnambool Woollen Mill and will be added to the Woollen Mill collection in the Historical Society archives. .1 A sheet of white paper showing a sketch plan in black of the Warrnambool Woollen Mill with three areas coloured pink, yellow and blue .2 the same as .1 except that there are no shaded areas. .3 A sheet of lightweight card with black and yellow printing and a diagram of a machine Fire Plan For Insurance Purposes Atlas Automatic Fire Services Pty Ltd warrnambool woollen mill, history of warrnambool, onkaparinga woollen company, dunlop company

In 1869, the Warrnambool Meat Preserving Company commenced their business on the site, where it operated until 1875 when it was sold to the directors of the Warrnambool Woolen Mill Company. After being destroyed by fire in 1882 it wasn’t until 1910 that the Warrnambool Chamber of Commerce was approached by Marcus Saltau and Peter McGennan to invest in a new mill. The original directors were James Dickson, P J McGennan, Robert Swinton, M Saltau, and J W Younger. In 1955 the Warrnambool Woollen Mill formed a partnership with the Wangaratta Woollen Mills. Dunlop bought the mill in 1968. From that time until its closure in 2000 it had a number of different owners, the last being the Smith Family Industries. This report contains the financial reports for the three years from 1951-1953.This report shows records of the Woollen Mill which was one of the most important industries in Warrnambool for nearly 100 years. As such it has links to many local families and organisations.Light brown paper cover with black text underlined in red. Bound in black tape. Accountants’ name along bottom of cover in black.warrnambool, warrnambool woollen mill, warrnambool woolen mill,

A photo of Rine (Ekaterini) Varvarigos (Sikiotis) and her younger sister Olga Varvarigos (Andrews). Rine was born in Ithaca in 1910. In 1914 her parents Ioannis and Giannoula Varvarigos departed for Rhodesia with their baby son Dimitrios (Jim), leaving Rene and older brother Nicholas on Ithaca in care of their maternal grandmother. Her parents' journey to Rhodesia encountered delays at the Port Said so they eventually boarded a boat headed to Australia from where they thought they would get passage to Africa. However with the outbreak of WW1 they eventually settled in Melbourne where three more children were born, Constantinos 1916, Menelaos (Dennis) 1918 and Olga in 1925. Nicholas joined his parents in Melbourne in 1923 aged 14; and Ekaterini arrive in 1916 aged 16. Family separations were not uncommon for early Ithacan immigrants. Typically the intention was the they would only be away for a short time or that other family members, usually spouses and children, would follow later, once the men were more established. A black and white photograph of a young woman in a garden with a little child.Written on the back and translated from the Greek: Olga with Renee.

"Greystanes" was originally "Hunter House" built at 57 Queen Street, Bendigo by Robert Hunter in 1882. Robert's brother William and his family lived there for almost 60 years. In 1945 the house was sold to Rex Hyett who renamed the house "Greystanes". Rex removed the original verandah and balcony and built the portico. There were several other owners before it was purchased by the Country Roads Board/ VicRoads where it was the local office for 36 years years (1958 - 1994). From the late 1990s "Greystanes" was restored by Bill and Tui Mitchell who operated it as accommodation, restaurant and reception rooms. New owners then turned it into a boutique hotel and conference centre. The current owners purchased "Greystanes" in 1910. It was renamed "Hunter House" and after extensive restorations was converted into a family home and business .Red leather covered three ring photograph album with fifty adhesive pages containing eighty nine coloured photographs, two letters and a two page printed wine list. Front of album has three gold coloured lines as a border and the spine has five horizontal sets of three gold coloured lines. The photographs are a record of the restoration of "Greystanes Manor" house including a restaurant, accommodation and reception rooms. It includes photographs of guest rooms, living rooms, kitchen areas, storage areas, fittings and furnishings, external areas, restoration works, bathrooms, gardens and staff members. The album also includes two letters of appreciation from guests who stayed at "Greystanes" and a two page wine list from the restaurant. The wine list includes wines from several local wineries.tui mitchell collection, greystanes, hunter house, william hunter, robert hunter, tui mitchell, bill mitchell