A Copy of the Victoria Cross for display only purpose.Copy of Victoria Cross for Lara R.S.L. Display purposes only.Victoria Cross Medal with Red RibbonOn Reverse it a marking stating COPY. The Victoria Cross for Australia is the highest award in the Australian Honours System, superseding the British Victoria Cross for issue to Australians. The Victoria Cross for Australia is the "decoration for according recognition to persons who in the presence of the enemy, perform acts of the most conspicuous gallantry, or daring or pre-eminent acts of valour or self-sacrifice or display extreme devotion to duty. The Victoria Cross for Australia was created by letters patent signed by Elizabeth II, Queen of Australia, on 15 January 1991. It is listed equal first with the British Victoria Cross on the Australian Order of Wear with precedence in Australia over all orders, decorations and medals. The decoration may be awarded to members of the Australian Defence Force and to other persons determined by the Australian Minister for Defence.] A person to whom the Victoria Cross for Australia has been awarded is entitled to the post nominals VC placed after the person's name.copy of victoria cross

A black board with white text about Distinguished Flying Cross (DFC) award to the recipient of 5 RAR. The medal includes a silver cross with a rose in center and a ribbon of diagonal alternate stripes of white and purple. Distinguished Flying Cross (DFC). the Distinguished Flying Cross (DFC) is the third military decoration awarded to personal of the United Kingdom's Royal Airforces and other services, and formerly to officers of other Commonwealth countries, instituted for "an act or acts of valour, courage or devotion to duty whilst flying in active operations against the enemy".Distinguised Flying Cross (DFC)'s Details and names of recipientsmedal, distinguished flying cross, 5 rar, capt james campbell, replica medals

A cream programme with blue printing. On the front cover are the words, 'Grand Pantomime 'Jack and Jill.' Dancing, Singing, Dressing, Miss E. Liddell. Story written by Mrs. Knox Walker. Special scenery and accessories by Mr. Samuel and Mr. J. Burns (School of Mines). Lighting Effects by Mr. Wenborn. Orchestra under Conductorship of Mr. G. Krost. Pianist, Miss McGauchie.' An outline of the 2 acts and a list of the characters is also on the front page. On the inside is the programme consisting of Act 1 and Act 2performing arts, elocution, drama, lydia chancellor, collection, ephemera, pantomime, entertainment, event, theatre, programme, program, drama, 'jack and jill', performing arts

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of Jeanette Rayment in Blossom Time, a musical play in 3 acts adapted from the operetta Das Dreimäderlhaus by A.M. Wilner & Heinze Reichert. The performance was produced by Beatrice Oakley for The "Q" Theatre Guild in 1959 to coincide with Moomba. Music was provided by the Kew Philharmonic Society conducted by John Trotter. The set design is credited to Lachlan Stebbins. Marion Tilley, the creator of the scrapbook in which the photo is pasted, is given credit for designing and making the costumes. Jeanette Rayment performed the role of Therese.Marion Tilley, the creator of the scrapbook, wrote the name of "Jeannette Rayment" underneath the photograph.performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, musical comedy -- melbourne -- victoria

Dr. Law's patent medicines were sold in Warrnambool by Richard Kennedy (1826-1903). He was, a wholesale, retail and manufacturing chemist in Timor Street, Warrnambool in 1880 and he had what was described in the "Cyclopedia of Victoria" as "the largest and best appointed pharmacy in Victoria.". Kennedy was the Vice President of the Pharmaceutical Society of Victoria, on the Pharmacy Board and prominent in community affairs in Warrnambool. He was for some time the President of the Mechanics Institute and the Warrnambool Hospital and a foundation member of the Warrnambool Bowls Club. He also made perfumes with many varieties named after people or events of the time -- Federation, Nellie Melba etc. His pharmacy building in Timor Street and his house in Canterbury Road ("Ivanhoe") still stand (2019). R.F. Kennedy's pharmacy had the sole rights to Dr. Law's products.These labels are of importance as R.F. Kennedy was a well acknowledged pharmacist and a prominent business man and citizen of Warrnambool. Dr. Law's products were popular patent medicines in the early 20th century..1 Rectangular brightly coloured paper label with text and decorations including pillars,flowers, ferns, fruit, a gargoyle and two figures. One edge has been cut. .2 White rectangular label with blue text adhered to a piece of pink card. .3 Mid green rectangular label with black text and a yellow circle with text. All edges have been cut. .1 Mr LAW'S HEALTH RESTORING LIFE PRESERVER EFFERVESCING Life SALT. .2 DR.LAW'S NERVE MIXTURE A PERFECT CURE FOR "NEURALGIA." Further text in fine print .3 DR. LAW'S EFFERVESCING LIFE SALT restores and preserves the health, allays fever, is cooling & refreshing purifies the blood & acts as an exhilarating & invigorating tonic. Manufactured by the Effervescing life Salt Comp.y.(sic) Price 1/6r.f. kennedy, dr. law's products, pharmacy

A black board with white texts about a Medal for Gallantry (MG) Award and the recipient from 5 RAR. The medal includes a round Golden Metal of 7 vertices Star (Commonwealth star) and a yellow ribbon with "A" style up chevrons in orange colour. Medal For Gallantry (MG). the Medal for Gallantry (MG) is a military decoration awarded to personal of the Australian Defence Force. It recognises acts of gallantry in action in hazardous circumstances. It is ranked third in the Gallantry Decorations in the Australian honour System. 5 RAR Recipient: Cpl J D C BurridgeMedal of Gallantry (MG)'s details and names of recipientsmedal, 5 rar, medal for gallantry, cpl j.d.c. burridge, replica medals

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia toned photograph of performers in The Maid of the Mountains, performed in the Kew Recreation Hall in May and June 1956. The Maid of the Mountains, called in its original score a musical play, is an operetta or musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham and additional lyrics by Frank Clifford Harris and Valentine. For the Kew production, the scenery was executed by James L. Alexander and the wardrobe supplied by J.C. Williamson. The pianiste, Joy Barker, can be seen at the front of the photograph with an unidentified bassoonist. performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia toned photograph of performers in The Maid of the Mountains, performed in the Kew Recreation Hall in May and June 1956. The Maid of the Mountains, called in its original score a musical play, is an operetta or musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham and additional lyrics by Frank Clifford Harris and Valentine. For the Kew production, the scenery was executed by James L. Alexander and the wardrobe supplied by J.C. Williamson. The pianiste, Joy Barker, can be seen at the front of the photograph with an unidentified bassoonist. performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia toned photograph of an informal dress rehearsal for The Maid of the Mountains, which was due to be performed in the Kew Recreation Hall in May and June 1956. The Maid of the Mountains, called in its original score a musical play, is an operetta or musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham and additional lyrics by Frank Clifford Harris and Valentine. For the Kew production, the scenery was executed by James L. Alexander and the wardrobe supplied by J.C. Williamson. The pianiste, Joy Barker, can be seen at the front of the photograph.Underneath the photograph, Marion Tilley wrote: "Informal dress rehearsal of Maid of the Mountains"performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The origin of the fusee is not known. Many sources credit clockmaker Jacob Zech of Prague with inventing it around 1525. The earliest dated fusee clock was made by Zech in 1525, but the fusee appeared earlier, with the first spring-driven clocks in the 15th century. The idea probably did not originate with clockmakers, since the earliest known example is in a crossbow windlass shown in a 1405 military manuscript. Drawings from the 15th century by Filippo Brunelleschi and Leonardo da Vinci also show fusee mechanisms. The earliest existing clock with a fusee, also the earliest spring-powered clock, is the Burgunderuhr (Burgundy clock), a chamber clock whose iconography suggests that it was made for Phillipe the Good, Duke of Burgundy about 1430. Springs were first employed to power clocks in the 15th century, to make them smaller and portable.[1][5] These early spring-driven clocks were much less accurate than weight-driven clocks. Unlike a weight on a cord, which exerts a constant force to turn the clock's wheels, the force a spring exerts diminishes as the spring unwinds. The primitive verge and foliot timekeeping mechanism, used in all early clocks, was sensitive to changes in drive force. So early spring-driven clocks slowed down over their running period as the mainspring unwound. This problem is called lack of isochronism. Two solutions to this problem appeared with the first spring-driven clocks; the stack freed and the fusee. The stack freed, a crude cam compensator, added a lot of friction and was abandoned after less than a century. The fusee was a much more lasting idea. As the movement ran, the tapering shape of the fusee pulley continuously changed the mechanical advantage of the pull from the mainspring, compensating for the diminishing spring force. Clockmakers empirically discovered the correct shape for the fusee, which is not a simple cone but a hyperboloid. The first fusees were long and slender, but later ones have a squatter compact shape. Fusees became the standard method of getting constant force from a mainspring, used in most spring-wound clocks, and watches when they appeared in the 17th century. Around 1726 John Harrison added the maintaining power spring to the fusee to keep marine chronometers running during winding, and this was generally adopted. The fusee was a good mainspring compensator, but it was also expensive, difficult to adjust, and had other disadvantages: It was bulky and tall and made pocket watches unfashionably thick. If the mainspring broke and had to be replaced, a frequent occurrence with early mainsprings, the fusee had to be readjusted to the new spring. If the fusee chain broke, the force of the mainspring sent the end whipping about the inside of the clock, causing damage. The invention of the pendulum and the balance spring in the mid-17th century made clocks and watches much more isochronous, by making the timekeeping element a harmonic oscillator, with a natural "beat" resistant to change. The pendulum clock with an anchor escapement, invented in 1670, was sufficiently independent of drive force so that only a few had fusees. In pocketwatches, the verge escapement, which required a fusee, was gradually replaced by escapements which were less sensitive to changes in mainspring force: the cylinder and later the lever escapement. In 1760, Jean-Antoine Lépine dispensed with the fusee, inventing a going barrel to power the watch gear train directly. This contained a very long mainspring, of which only a few turns were used to power the watch. Accordingly, only a part of the mainspring's 'torque curve' was used, where the torque was approximately constant. In the 1780s, pursuing thinner watches, French watchmakers adopted the going barrel with the cylinder escapement. By 1850, the Swiss and American watchmaking industries employed the going barrel exclusively, aided by new methods of adjusting the balance spring so that it was isochronous. England continued to make the bulkier full plate fusee watches until about 1900. They were inexpensive models sold to the lower classes and were derisively called "turnips". After this, the only remaining use for the fusee was in marine chronometers, where the highest precision was needed, and bulk was less of a disadvantage until they became obsolete in the 1970s. Item is an example of clock mechanisms used until 1910 for many different styles of clocks and went out of fashion in the 1970s due to improvements in clock and watch making.Brass fusse clock movement, It has very heavy brass plates and wheels, high-count machined pinions, and a fusee. The mounting of the pendulum is missing and It has a recoil escapement. A fusee is a conical pulley driven through a chain by the spring barrel. As the spring runs down, the chain acts at a larger and larger radius on the conical pulley, equalising the driving torque. This keeps the rate of the clock more even over the whole run. It has motion work to drive an hour hand as well as a minute hand and the centre arbor is extended behind the back plate to drive some other mechanism.Inscription scratched on back"AM 40" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock mechanism, fusee mechanism, horology

Yields information about Melbourne tramway trusts, track mileage, tramway Acts and Melbourne trams sold to the SEC.Set of four typed or handwritten research notes on line quarto paper. Not known who prepared them. .1 - Extracts from the Victorian Year Book 1909-16 and 1954 - notes on the trust, cable tram company, cable tram trust, electric tramway trusts. .2 Tramway Mileage (track) for Victoria except VR trams - from the year books, MMTB and SEC, 1901-09, 1913-14, 1950-54, SEC 1955-1960. .3 Tramway Acts - handwritten - 1910 to 1922 .4 - List of MMTB Cars sold to SEC, and others - handwritten trams, tramways, sec, mmtb, tramcars, track

.1 - Folded A2 (into A4 sheets) printed on gloss paper, featuring headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983 .2 - three page A4 document - stapled in the top left hand side "Transporting Art - Impressions of the Painted Trams Project" - listing photographs and photographers. See pdf file. trams, tramways, transporting art, decorated trams, exhibitions

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of performers in San Toy OR The Emperor's Own. San Toy was a "Chinese" musical comedy in two acts, first performed at Daly's Theatre, London, on 21 October 1899. The book was written by Edward Morton, and the musical score was written by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross. Additional songs were written by Lionel Monckton. The photograph of the cast on stage includes 'Betty', far right. This may have been Betty Eames, Betty Wilson or Betty Crowe. The scenery was by Alexander and Day and the production directed by Lance Nicholls in the Kew Recreation Hall.Arrow and name 'Betty' beside right of photo.performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Sepia toned photograph of a dance number in The Maid of the Mountains, performed in the Kew Recreation Hall in May and June 1956. The Maid of the Mountains, called in its original score a musical play, is an operetta or musical comedy in three acts. The music was by Harold Fraser-Simson, with additional music by James W. Tate, lyrics by Harry Graham and additional lyrics by Frank Clifford Harris and Valentine. For the Kew production, the scenery was executed by James L. Alexander and the wardrobe supplied by J.C. Williamson. The ballet and ensembles were choreographed by Lillie Willaton. The pianiste, Joy Barker, can be seen at the front of the photograph. performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. This item is a black and white photograph(professional) of a panoramic view of a snow plough clearing the unsealed road in 1950.This postcard is on quality paper and the reproduction of the picture is of a high standard.For other "tourist" postcards see 0480 (A) -(F) for other photos of similar postcards. kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, secv, snow plough

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph on a Valentine's postcard is from a V2 Argus photograph.. It is on a 200g/m paper density photo side gloss. See 0480 (A) - (G) for other photos of similar postcards.In white lettering " ROAD TO BOGONG HIGH PLAINS KIEWA HYDRO-ELECTRIC PROJECT", V3secv, road making, victorian alps

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph is from a Valentine's V2 Argus postcard. It is on a 200g/m paper density one side gloss. See also KVHS 0480 (A) to (L) for similar postcards. "ROCKY VALLEY FROM BOGONG HIGH PLAINS KIEWA HYDRO-ELECTRIC PROJECT" "V1"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, rocky valley, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph is a Valentine's postcard, from a V2 Argus photograph. It is on a 200g/m paper density with only the photo side gloss.Front "JUNCTION DAM & SPILLWAY, BOGONG KIEWA HYDRO-ELECTRIC PROJECT" on the flip side "VALENTINE'S POST CARD " "A GENUINE PHOTOGRAPH"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, junction dam, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph on a Valentine's postcard is from a V2 Argus photograph. It is on a 200g/m paper density one side gloss only/. See 0480 (A) -(L) for other photos of similar postcards."JUNCTION DAM & SPILLWAY, LAKE GUY, BOGONG, KIEWA HYDRO-ELECTRIC PROJECT" "V5" on the flip side" VALENTINE'S POST CARD " "A GENUINE PHOTOGRAPH"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, junction dam, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph from a Valentine's postcard is from a V2 Argus photograph postcard. It is on a 200g/m paper density photo side gloss. See 0480 (A) - (K) for other photos of similar postcards."No.3 POWER STATION KIEWA HYDRO ELECTRIC PROJECT" "V8"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, secv

An English actress in her younger days, Camille Treherne was active between 1909 and 1913. She played the role of Empress Marie Louise in "Madame Sans-Gêne" as shown in this postcard image. In her later years, Camille Treherne (Mrs Hill) lived as a recluse in a shack in Ingrams Road, Research, Victoria, Australia. Madame Sans-Gêne is a historical comedy-drama by Victorien Sardou and Émile Moreau, concerning incidents in the life of Catherine Hübscher, an outspoken 18th-century laundress who became the Duchess of Danzig. The play is described by its authors as "three acts with a prologue". "Madame Sans-Gêne (play)." Wikipedia https://en.wikipedia.org/wiki/Madame_Sans-Gêne_(play). Accessed 19 Oct. 2023.On reverse: Mrs Hill a recluse living in Ingrams Rd Research She was an actress (shown here) in younger days then lived in a "shack" in Research.actress, camille treherne, madame sans-gêne (play), postcard

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph from a Valentine's postcard is from a V2 Argus photograph postcard. It is on a 200g/m paper density photo side gloss. See 0480 (B) - (F) for other photos of similar postcards.In white lettering " LAKE GUY & BOGONG VILLAGE KIEWA HYDRO-ELECTRIC PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This scanned black and white photograph of a postcard, shows vehicles covered in thick snow at Bogong Village in 1950. See 0480(A), (C) - (F) for other similar photos of postcards available at this period."SNOWFALL AT BOGONG VILLAGE KIEWA HYDRO-ELECTRICITY PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, bogong village, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. The couple shown in this photograph would have been employed by the S.E.C. under the Kiewa Hydro-Electricity Scheme.This item is a scanned black and white photograph of a couple walking along a gravel street in Bogong Village in 1950. See 0480 (A) ,(B), (D) - (F) for other photos of similar postcards" SCENE IN BOGONG VILLAGE KIEWA HYDRO-ELECTRIC PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, bogong, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This item is a scanned black and white photograph of a panoramic view of Howman Gap Hostel under snow in 1950 (a closed village, entry by pass only). This accommodation was for construction workers only. See 0480 (A) -(E) for other photos of similar postcards.On the photo, " Howman Gap Hostel under snow Kiewa Hydro-Electric Project" . On postcard address and personal information side "V.2 Valentine's Post Card "kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, bogong, secv, howman's gap hostel

Printed for Australian Infantry personnel during World War 2 to help with repatriation on return to AustraliaUsed by World War 2 service personnel to assist with repatriation on return from active service to Australia.A booklet coloured khaki with a cover made from light cardboard and 64 pages made from paper.On the front Cover from top to bottom: Commonwealth of Australia; Repatriation Commission; AN OUTLINE OF REPATRIATION; (Republished September, 1943, to conform to the amended Acts and Regulation, Revised January, 1941); (Issued by the Repatriation Commission for the information and guidance of members of the Fighting Services of the war which commenced on 3rd September, 1939); Melbourne; By Authority: H.E. Daw, Government Printer, Melbourne T.1034/12.43-C.454/45 See images for content on front and rear covers.commonwealth of australia, repatriation commission, world war 2, ww2, repatriation, aif, australian infantry forces, melbourne, government printer, navy, army, air force

Instituted in 1914, the Military Cross (MC) was issued for gallantry in presence of the enemy to warrant and junior officers of the Army who were ineligible (on account of their rank) for the Distinguished Service Order. During the First World War, it was also available to equivalent ranks in the Royal Naval Division and Royal Marines and it later became available to equivalent ranks in the RAF for acts of gallantry on land. The equivalent award for the other ranks for gallantry on land in presence of the enemy was the Military Medal (MM) which had been instituted in 1916 and, similarly to the MC, later became available to RAF other ranks serving on the ground. This medal was awared to Pte H. S Holgate for bravery in the field in 1917. Pte Holgate was killed in action at Zonnebeke 11 October 1917. Historical and social significance for schoolSilver medal with a swivelling suspension. features King George the V, uncrowned, in Field Marshal's uniform on the obverse. The medal reverse depicts the crowned royal cypher over the words "FOR BRAVERY IN THE FIELD" all within a laurel wreath. Impressed around edge are the recipient's details. The ribbon has a central stripe of thin red and white lines flanked by equally sized stripes of navy. Inscribed around obverse: 'GEORGIVS V BRITT: O[M]N: REX ET IND: IMP:' Inscribed in centre of reverse below royal insignia : 'FOR/BRAVERY/IN THE/FIELD' Impressed around OUTER edge of medal: '4303 PTE H. S. HOLGATE. 8/COY AUST. M.G.C.' Notation on original box A./Cpl H.S.Holgate 29Bn AIF 51531/Decd. 43031917, medals, military medal, world war i, w w 1, holgate, private h s holgate, zonnebeke, holgate medal

A brown wooden award with two columns supporting an upper platform, upon which rests a wreath on a block of wood. Between the columns another block of wood, with the Lions International badge upon it, acts as a base for a circle containing a picture of two crossed rifles upside down with a target between them. Winners inscribed on individuals metal plates: 1973-74 H. Glen, 1974-75 P. Teague, 1975-76 H. Glen, 1976-77 S. Harkensee, 1977-78 J. Scholtz, 1978-79 J. Bloomer, 1979-80 J. Musgrove, 1980-81 R. Teague, 1982 M. James, 1983 S. Harkensee, 1984 H. Parson, 1985 M. James.Wooden rectangle topped with a plastic wreath and tarnished silver plates inscribed with winner namesThe Forest Hill Lions Club Perpetual Trophyroyal victorian institute for the blind, rvib rifle club

A metal cup engraved with 'Melbourne Red Cross Younger Set' sits on top of a plastic base, which has a dark coloured plate attached to the front side. On the front plate is engraved "Memorial SWISH - Trophy, Commemorating Annual Contests between the R.V.I.B. and Younger Set Teams". On the rear side are engraved the winners of the trophy: 1975 - RVIB, 1976 - RVIB, 1977 - RVIB, 1978 - MRCYS. The Melbourne Red Cross Younger Set were an auxiliary of RVIB that helped provide awareness and raised funds for services. Swish is a form of table tennis that is played without sight. The ball contains a bell and is hit with a rectangular bat under the board that acts as a net. This cup represented the annual game between the Auxiliary and RVIB players.1 pewter cup resting on top of a plastic platform with an engraved plate Memorial SWISH - Trophy, Commemorating Annual Contests between the R.V.I.B. and Younger Set Teams 1975 - RVIB, 1976 - RVIB, 1977 - RVIB, 1978 - MRCYSnameplates, royal victorian institute for the blind

Joynt was the seventh member of the newly formed Legacy in 1923 and became a member of the Board of Management in 1924 and worked closely with Stan Savige. He was also instrumental in gaining the support of both General Sir John Monash and the R.S.L. to build the Shrine of Remembrance, as well as ensuring media backing and thus public support for the project. He worked tirelessly for Legacy for 38 years until he retired at the age of 84, and entered fully into comradeship activities throughout his involvement. He won his VC in 1917 at Chuignes during one of the last battles on the Somme. The Victoria Cross is the highest award for acts of bravery in wartime and was instituted in 1856 by Queen Victoria. See also the funeral service at Cat No 01303.Detailed biography of one of the few Legatees to have been awarded the Victoria Cross.White A4 paper x 6 pages with black type.Box 16 L 11 (illegible) in black birodonovan joynt, obituary