Another example of a painted white cane, made from a tree branch stripped of lateral buds, but with a metal tip indicating its primary use as a navigation device rather than a support stick.Wooden white cane with crooked handle with metal tipassistive devices, white caned

The box was made by Albert Richardson from the first Blackwood Tree felled, dried and treated on the Brodribb River by him at the Tabbara Mill in 1882. Albert was the son of Samuel Richardson early Orbost pioneer and builder of The Paddle Steamer Curlip.Small, rectangular hand- carved wooden box made of blackwood. On the top it has a diamond design. It has metal hingesbox handcraft richardson-albert carving

The donor George Lister Coop was about 21 years of age when he took this photo in 1958 of his family home. His parents were George Burton Coop (b c1906 Williamstown; died aged 54 years at Mont Albert) and Winsome Alice (MS: Trewartha) who married in 1936. They are first listed at this address in the electoral roll in 1937. They had 2 children: George Lister Coop - born St Georges Hospital, 8/10/1937 and Alison - born c1945. However the donor informed that he initially attended Chatham State School because his first home was the Spanish Mission style flats at 346 Whitehorse Road, opposite Brenbeal Street, Balwyn. When his grandparents died, the family moved to 688 Whitehorse Road and he then attended Mont Albert Central School. Alison being younger did not go to Chatham Primary. A digital copy of a colour photo showing detail of the front veranda of 688 Whitehorse Road. The house is white weatherboard in a modified Californian bungalow style with a tiled roof and the carport built within the roofline. The balustrades and finials of the veranda are simple with occasional feature planks with a tulip detail. A bird cage hangs from the veranda. The veranda is supported by rough-cast sturdy pillars.george l coop, whitehorse road, mont albert, uniting church, californian bungalow

Criticism of the state of Albert Park, Melbourne, preparation of a current map, the need for a Master Plan of buildings, plantings, furniture. Criticism of buildings. Suggests a plan to plant and paint.This appears to be a lecture.Typewritten with pencil edit and notes, quarto, 4 pages. (Two copies)Small paper square included with Monday, January 24 calendaralbert park, macrobertson girls high school, planting, building, furniture, robin boyd, manuscript

Minutes of the eighth White Cane Day organising committee, chaired by Bryan Sitlington. This file also includes minutes from a meeting of the Australian National Council of and for the Blind, which Mr Sitlington attended in his role as chair.39 pages of typed meeting minutes on white paperwhite cane day, bryan sitlington, australian national council of and for the blind, harold gration, national federation of blind citizens, royal guide dogs for the blind association, royal victorian eye & ear hospital, ross johnstone, villa maria society, camille wilkins, iris whittaker, dr t davidson, john cook, royal victorian institute for the blind, braille and talking book library, association for the blind, e.e. (ted) petersen

Two people are walking in the front garden of RVIB. The man holds a white cane in front of him, whilst the woman raises her arm as she helps advise in use of the cane.Digital image of a male using a white cane with a woman along side to assistroyal victorian institute for the blind, orientation and mobility

This image was reproduced in the Ballarat School of Mines Handbook and Prospectus, 1905.Copy of a line drawing of the Ballarat School of Mines from Albert Street, Ballarat, including the battery and metallurgical laboratories, chlorination plant and roasting furnace, cyanide plant, engineering laboratory and the Ballarat School of Mines Botanical Gardens. The original of this image is Cat. No. 4774.ballarat, school of mines, battery, metallurgy, chlorination plant, roasting furnace, cyanide plant, engineering, laboratory, museum, assay, mine, m3334, ballarat school of mines botanical gardens

Written on the back of the photo is Mrs Key. She clearly is not the subject so presumably she ordered the print and it is of her family. Given the time period, it is probably Albert Key with sons Robert and Colin. This is consistent with other photos of Albert, Robbie and Colin at similar ages. Mrs Key would be Isabella (nee Roberts) Cabinet Photo Stewart & Co Photographer, 284-286 Bourke Street, Melbourne Stewart & Co operated from 284-286 Bourke Street from 1901-1910+Inscribed on back in pencil Mrs Keyalbert key, colin hutchinson key, key family, robert dalrymple key, stewart & co photographers 284-286 bourke st melbourne, pam thoonen (nee ingram) collection

Belonged to Donor's parents in their home in Blackburn.Small leaflet showing net curtainsWhite Light and Lovely New Nets for your Homecurtains, decorating, 1960s

Albert E. Williams was a teacher at the Ballarat Technical Art School.Framed Design for an Art Gallery for a Provincial Centre ballarat technical art school., albert e. williams, art gallery design, art teachers' certificate, a.e. williams

Albert E. Williams was a teacher at the Ballarat Technical Art School.Framed Study in Colour of a Flowering Plant from Naturealbert e. williams, art gallery design, art teachers' certificate, a.e. williams, ballarat technical art school, staffmember, flora, aqualegia, available

Sepi print mounted on cardStamped on reverse: A.J. Spark Collection Photos 1900-1930 Photography Late Albert Jones Diamond Valley Tel: 83 - 3561henley bridge, yarra river, row boat, uniden, unidentified

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)This drawing is one of a series created by Margaret Picken for real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink drawing on drafting film of 2/8 Hartwood Street, Kew East by Margaret Picken.2/8 HARTWOOD ST., KEW E / MARG PICKEN 2006 / SHARPART - RAY WHITEartist -- margaret picken 1950-, 2/8 hartwood street -- kew east (vic.), property illustrations -- buildings -- kew east (vic.)

A hard white plastic ball is currently (2015) used in Australia and it is slightly larger and has holes in it so sound can be released from the bottle tops and led weight. This ball has been in use since the beginning of the 2003/2004 season.1 white plastic cricket ball with metal bellsrecreation, assistive devices

A white cane on a lime green background with the words 'Association for the Blind' written around the edge. The final word is in larger print and on the back of the badges is the price of the badge: 20c. Badges were a way of raising both funds and awareness for many blindness organisations.1 metal pin with white cane on lime backgroundAssociation for the Blindwhite cane day, badges, association for the blind

Digital image of W2 380, at the intersection of High St and Mont Albert Road Kew, Kew Junction. Kew Post Office is in the background along with a Bank of NSW building. Tram showing route 42, City. Photo by Dick Jones - reference - 380_KewPO_DickJones_6609x34Pe.11trams, tramways, w2 class, kew junction, route 42, mont albert rd, high st, tram 380

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

The ..... Red & White Diamond ...... The official history of the 24th Battalion Australian Imperial Force.Hard cover paper glued to cardboard, dark grey colour. Dark blue print on front & spine (broken off). 340 pages, cut, plain, beige coloured. Illustrated, black & white photos & sketch maps. Front fly leaf handwritten in black ink: “July 1-7-1921, J A Rodway, Worker's Club, Mildura” books, military, 24th bn

Posters advertising the TheatreWorks production of "Storming Mont Albert by Tram". First poster (green) gives dates Friday 26/2 to Sunday 14/3 - 1982. Second poster (red) advertises that the season had been extended to Friday April 16. Gives departure times ex Mont Albert cost of tickets and ticket booking details. Notes refreshment bream at the Australia Hotel in Colliins St. See item 1178 for other associated materials and 7210 for a similar work in 1988 - Storming St Kilda by Tram.Yields information about a 1982 Theatreworks production that involved a tram.Set of two posters, printed on paper.mont albert, theatreworks, route 42, tramways, theatre

A bearded man walks on a grassy area next to the RBS building in Enfield, having just walked past a couple holding hands.2 B/W photographs of man using white caneFile: Skills Training - O&M 88-7 A white cane provides blind people with early warning of obstacles. S-129, bottom picture of page 3 Gordon Tibbles, PR Officer RBSroyal blind society of new south wales, white cane day, orientation and mobility

Captain John E D White, Australian Army Training Team in Vietnam (AATTV) took over command of 11 Mobile Strike Force (Mike Force) Company in Da Nang, Vietnam, in February 1968. He was 26 years old. The 2 NVA Division was moving from Laos into South Vietnam and his mission was to establish contact with the division and trace its movements south. In mid-March the company was air lifted to the Special Forces camp of Kham Duc, near the Laotian border. They used an old French Foreign Legion fort as a temporary base from which patrols could be sent out. White called it Ngok Tavak after a nearby mountain. Initially, patrols failed to find the enemy, but in late April a patrol clashed with the enemy. At the same time, White received intelligence that the NVA division was closing in. At night they could hear explosions in the distance heading toward them. White decided their best chance was to leave the fort and take to the jungle to adopt guerrilla tactics. However, in the meantime a platoon of United States Marine Corps artillery arrived bringing with them two howitzers and a stockpile of ammunition. To abandon the fort was to abandon the guns. White contacted Da Nang, explaining the predicament, and was ordered to remain where he was. A Civilian Irregular Defense Group (CIDG) platoon was sent to reinforce his numbers. This was a para military force comprised mainly of indigenous highlanders, trained by United States Special Forces. They also brought with them two mortars and their crews. At 3.15am on 10 May 1968 some members of the CIDG chose to assist the NVA to attack the fort instead of supporting Mike Force, and close hand to hand fighting followed, along with grenade attacks and heavy machine gun fire. Air support offered a brief respite from the NVA attack, and some NVA forces were pushed back outside the perimeter by counter attacks, but at 9am White contacted Da Nang to advise that his position was untenable. A second attack was imminent and they could not withstand it, so they would have to withdraw. The wounded were evacuated by helicopter (under orders from Major Mai, the NVA had not attacked the previous medical helicopters that collected the wounded under the cover of air strikes) and at 1pm the rest of the force evacuated east, into the jungle. The NVA did not notice their withdrawal, and continued mortar attacks on the fort for another ninety minutes. Seven kilometres from the fort White called for a helicopter withdrawal of his forces. The force was successfully lifted to Kham Duc and then Da Nang. (Credit AWM)Coloured image of 7 soldiers (5 shirtless) posed on the edge of a foxhole with jungle in background. L-R Willie Swicegood (USA), John White (AATTV-Aus), Ken Benway (USA), Frank Lucas (Aust), Clay Aitkins (USA), Glenn Miller (USA), Don Cameron (Aust)john white, aattv, battle of ngok tavak

This white cane consists of three wooden parts that screw into each other to form the straight cane. The top section has grooves to indicate the top of the cane as well as a hole, through which the user could attach a rope or elastic cord to ensure the cane stayed in hand.3 pieces with screw connections that form a white caneorientation and mobility, equipment

UNIDENTIFIED PHOTOGRAPH DONATED BY W. GAYFORD, 20 WOLSLEY STREET, MONT ALBERTFADED PHOTOGRAPH - FOUR GENTLEMEN AND A DOG STANDING OUTSIDE A SHEDlocal history, photography, photograph, ?

To celebrate White Cane Day in 2008, a group of cane users met at the Travellers Aid office at Flinders Street station, before walking down the escalators, along the platform and along the Yarra River and St Kilda Road at Southbank.98 digital images of people participating in the 2008 White Cane Day eventvision australia, white cane day, cath caddis, tracy wright, kylie gerson, nicola misso, di seybold, flinders street station

In earlier years (c1923-1943), the shop was known as Mrs Sim's shop. Note that prior to c1928 the property was numbered 292 Mont Albert Road. Electoral rolls describe Victoria May Sims (nee Munday) as a confectioner but she also sold school requisites and other general household items. Her husband Harry Pascoe Sims died in 1926. The shop was taken over by Leonard William James Etheridge, whom electoral rolls and probate records variously describe as a grocer, stationer or builder. His sons Austin, Douglas and Leonard attended nearby Chatham Primary School. Leonard senior and his wife Marie Wanda (nee Chambers) lived in various locations around Surrey Hills after leaving the shop. Austin went on to establish Etheridge Ford in Ringwood.A black and white photograph of a man dressed in a suit wearing a hat. He is standing beside a car parked beside a shop.mrs sims shop, mont albert road, surrey hills, chatham school, austin etheridge, frank etheridge, victoria may sims, leonard william etheridge, douglas etheridge, leonard etheridege, marie wanda etheridge, marie wanda chambers

45 RPM record in a cardboard cover 'Music For Pleasure'White Horses and the unicorn Music for pleasure London and Sydney No24

Quamby was built in 1898. From 1900/1903-1924 it was the home of Andrew Sherar and family. From 1924-1960s it operated as Mosgiel Hospital under the direction of Matron Elizabeth Anderson. Until Box Hill Hospital opened most Surrey Hills children were born at Mosgiel or at Nethercourt Hospital in Wilson Street or later in Union Road when Matron Tank moved her hospital here. Mosgiel Hospital was demolished c 1975 after it was sold by Box Hill Hospital. It was replaced by units. Andrew Sherar was conductor of the Wyclif Church choir for many years and was a member of the Melbourne Liedertafel. Isie Sherar was organist at Wyclif Church and also taught piano in Union Road. Connie Sherar was in the Wyclif choir and married Ernest Swan, an elocutionist and orator. Dorothy Sherar was a pianist and accompanist. Elsie Sherar was also in the Wyclif choir and was a soloist; she later moved to Templestowe. Ken Sherar was a boy soprano at St Paul's Cathedral; he later moved to Queensland.Black and white photo looking south down Vincent Street from 'Quamby', located at 293 Mont Albert Road, Surrey Hills. In the centre foreground is a timber house with 2 chimneys and a tiled hip roof. It has a return veranda and is fenced on 2 sides by paling fences and picket fences on the other two. In the background are many more houses. A road lined with power poles runs from the right foreground to the middle distance.quamby, vincent street, edwardian style, topography, andrew sherar, isie sherar, connie sherar, dorothy sherar, ken sherar, elsie wappet