Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant and rare example of a couture range by Norma Tullo.Long red cotton evening dress with overall white polka-dots, designed by Norma Tullo. The floor length dress has a high rounded collar, long sleeves with ruffles at the cuffs and on the hem. The light-weight cotton outer layer is supported by a thick cotton underlayer. Atypically, the dress has a label stating it is an example of 'Tullo Couture'. Dimensions: Shoulder width 40cm Bust: 92cm Waist: 72cmLabel: TULLO COUTUREaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses, tullo couture

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant dress by Norma Tullo.Long blue cotton evening dress designed by Norma Tullo. The floor length dress has a high rounded collar, long sleeves with buttoned cuffs. The light-weight cotton outer layer is supported by a thicker cotton underlayer. Dimensions: Shoulder width 37.5cm Bust: 90cm Waist: 66cm Hips: 96cmLabel: TULLOaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant dress by Norma Tullo.Long blue evening coat designed by Norma Tullo. The floor length coat has a wing collar, long sleeves and silver buttons at the front. The coat was worn over a long blue evening dress by the same designer and could be worn buttoned or unbuttoned. Dimensions: Shoulder width 38cm Bust: 96cm Waist: 87cm Hips: 116cmLabel: TULLOaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses

Kingsley MARKS (1929 - ) Kingsley Marks trained at the South Australian School of Art before teaching secondary schools. He became interested in pottery after attending a class one night a week at the John Martins building in Adelaide. He received grants to travel and study ceramics in Mexico the US and Canada, then taught for twenty years at the Torrens and South Australian Colleges of Advanced Education. Upon his retirement in 1985, he moved to Brentwood near Minlaton and established the Brentwood Pottery, specialising in sculptural work using a range of forming, decorative and firing techniques. (https://www.flickr.com/groups/1281707@N21/discuss/72157641492795284/) Kingsley Marks was a guest at Strezleckie Spotkanie in 1984. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Electric kiln-fired slipcast decorated earthenware. Kevin Marks uses the mark "K" on his work. Gift of the Artist, 1984ceramics, kingsley marks, artwork, gippsland campus, churchill, brentwood pottery, artist, jan feder memorial ceramics collection

An event at the Shrine of Remembrance Visitor Centre, the guests include some youths and Ron Barassi. It could be the launch of Badge week - the poster says: Buy a Badge, with an image of the Widow and Children statue. Ron Barassi, an ex-AFL footballer, participated in several Legacy events over the years. Ron was a a junior legatee after his father Ron Snr was killed at Tobruk in World War II, aged 27. 00686.1 The President George McKenzie with the youths and Ron Barassi. 00686.2 Three men, on the left is Legatee Des Lovelock and on the right is Legatee Lucky Luscombe. 00686.3 Four men, on the right is Legatee Geoff Brewer. 00686.4 Four men, second from right is Legatee David Cull, Chief Executive. 00686.5 Five people, second from right is Legatee Geoff Brewer next to Ron Barassi. 00686.6 Unknown man with President George MacKenzie 00686.7 Ron Barassi talking to a couple of people See also the photos at 00687. The Visitor Centre was completed in 2003 and provides unimpeded access for the elderly and disabled to the Sanctuary, the Crypt and the Galleries of Remembrance as well as open space for exhibitions and events.A record of a function at the Visitor Centre at the Shrine. Colour photo x 7 of a function at the Visitor Centre at the Shrine with guest Ron Barassi.Printed on the back "No.< > Clarendon Photos 0549" which is the frame numbers and place of processing. Negative numbers 2, 5, 6, 7, 10, 12 and 14.legacy week, legacy appeal, george mckenzie

Set of various newspaper cuttings about public transport in Melbourne, including trolley buses. .1 - "We may get a super trolley" - about the possibility of a trolley buses in Melbourne, being studied by the MMTB. The Herald, 14-11-1979, written by Lawrence Money. .2 - "Trolley buses may roll soon", as for above, quotes MMTB Annual Report. Written by Gary Walsh of The Sun newspaper. .3 - "Back to the buses move" - as above - The Sun newspaper - 4/3/1981. .4 - "Electric buses Studied" - as above - written by Geoff Strong - The Age, 14-11-1979 .5 - "Plan for super trains, buses" - as above and new trains - written by Gerry Carman - The Age, 2-1-1980 .6 - "Trolley buses could replace city trams" and other headlines concerning the Lonie Report, closure of rail and tram lines, union reaction - The Age 9/12/1980.\ .7 - "Monster bus will car 240" - with photo of a Daimler Benz guided (O Bahn) busway, notes the installation in Adelaide. The Age 4-10-1982 .8 - "State will buy 45 more super trains", about the purchase of new Comeng trains for Melbourne.trams, tramways, mmtb, trolley buses, public transport, lonie report, comeng

Greatly relieved by his son’s safe return from war, John Richard Stanton (1872-1955) buys a parcel of productive farming land for his son John Charles “Jack” Stanton (1895-1989) to give him a “good start in life”. Jack’s wife Ethel Capper, devised the name “Gracerray” for the property to honour her sister Grace and the nearby Murray River. After the First World War, fourth generation Jack Stanton (1895-1989) with the help of his father started building a new winery (at the current site of the winery and cellar door) called ‘Gracerray’ named after his wife’s sister Grace and the Murray River. It is pronounced “Grah-sair-ray”. Jack built Gracerray around some existing cement open top vats from a winery that was demolished after phylloxera ravaged the region in the late 1890s. He used second hand materials from the defunct Great Southern gold mine and propped up the roof with huge tree trunks. Jack only made fortified wine up until the 1960s when he and his son-in-law Norman Killeen started making red wine to meet changing Australian tastes.Black and white portrait photograph of a mature man in suit and tie.On back of photo: "145% [upper case E in small circle] J.C. Stanton" wineries, north east victoria, wine industry, j c stanton, stanton & killeen winery, jack stanton

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. Born on 10 July 1931 in Walwa, Joseph Gordon (Joe) Drage operated a timber mill and earthmoving business, but his great passion was aviation. After obtaining his pilot’s licence at the age of 19, Mr. Drage set about buying vintage aircraft that he feared would be sold overseas. He bought his first aircraft, a Tiger Moth in 1965. In 1972 he established Drage Historical Aircraft Museum on about 60 ha of land in Wodonga, with 5 planes. Over time this grew to 21 planes which Joe maintained so that they were all in flying order. His museum was the location for several air shows which included fly-ins by members of the Antique Aeroplane Association. The land occupied by the Museum was compulsorily acquired by the Albury-Wodonga Development Corporation and Wangaratta council bought the aircraft collection for about $2 million. They opened Drage Airworld in 1984. The cost of maintaining the collection became too much for the council which closed it down in 2002. Joe Drage died on 9 August 2017.This portrait depicts a person who made a significant contribution to the Wodonga community.A portrait of Joe Drage sitting on the wheel of his Tigermoth. The photo has been mounted in a metal frame.joe drage airworld, aircraft museum wodonga, joe drage

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. Parker Family - Samuel Skelton Parker, Jack Parker’s father, migrated to Australia from Ballymena, Country Antrim, Ireland in 1884. He married Bridget Cusack from County Clare in 1883. They had children William, James, Jack, Samuel and Rachel. After working on a station in northern NSW, they moved to Barnawartha and set up a butchery and later a bakery. In 1890 the family moved to Wodonga, buying a property in West Wodonga, which he called “Park Hall” after his home in Ireland. The property is now the location of the Wodonga Golf Club in Parkers Road, West Wodonga.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Two men in front of a haystack, working on the Parker family farm in Wodonga West. C. 1910wodonga pioneers, haeusler family, glass negatives, dry plate photography, parkers wodonga

In 1854 in Melbourne George Rolfe Senior established an import business dealing in groceries, wines and spirits and tea. His son George, born in England, took over the business of Rolfe and Co in 1871. A keen sportsman, George Rolfe’s love of fishing led him to take frequent holidays in Warrnambool. He began buying blocks of land near the mouth of the Hopkins River in Warrnambool in the 1870s. By the 1880s Rolfe owned 50 acres in the Hopkins River area and named the property, Lyndoch. He built stables, chaff and bone sheds, a jetty, a boatshed, a water well, a windmill, a reservoir and extensive gardens. He also bought the nearby properties of Shipley and Fairy Hill, establishing a stud farm and breeding cattle. In 1891 he married Jane Ann Lake, the widow of his property manager, and when he died in 1919 his step-daughters, Florence and Annie Lake, inherited Lyndoch. The property was sold and became an aged care facility in 1952. The cutlery items were in use in the building erected by Florence Lake in 1920 and known today as Lyndoch but the ‘R’ monogram on the items suggest that they belonged to George Rolfe or even his father before him.These cutlery items are of considerable importance as mementoes of George Rolfe and his family. They were prominent in Warrnambool’s history in the late 19th and early 20th centuries with the establishment and development of the property, Lyndoch, near the mouth of the Hopkins River. These are 17 pieces from a silver cutlery set that belonged to the Rolfe family (one tablespoon, six large forks, five smaller forks, four small spoons and one mustard spoon.) All the pieces of cutlery have a monogrammed ‘R’ at the end of the handles. Twelve of the items are tarnished and one small spoon is very worn. All the items have six hallmarks. ‘R’george rolfe, lyndoch, warrnambool, rolfe & co. melbourne, florence lake, lyndoch warrnambool., history of warrnambool

The P.S Adelaide was launched on 21st July 1866. It was owned by J.G.Grassie from Poon Boon Station and the Officer Family of Murray Downs Station Swan Hill. The Adelaide was named after the niece of the Officer Bros, Adelaide Blackwood. The shipwright who built her was George Linklater. The Adelaide brought wool and passengers from the wool stations on the Murray and Darling Rivers down to the Echuca Wharf. In 1872 she was sold to David Blair & Sons. She was used to bring timber from the Barmah Forest to the Echuca Wharf. She did this work for the next 80 years. In 1953 she was tied up near the Mill and left. In 1958 she went to Paringa South Australia to work in the sawmill industry again. In 1960 the Echuca Apex Club and The Echuca Historical Society raised enough funds to buy the P.S. Adelaide and return her to Echuca. In November 1963 she was lifted out of the water and placed in Hopwood Gardens as this was thought to be a way of preserving her. In 1984 it was decided to return her to the water to resume work as a passenger vessel. In that time the Port of Echuca and the Echuca Wharf had been restored as a Tourist Precinct. This photograph shows the beginning of the task to return her to the river. It took several weeks in March 1984.The P.S Adelaide is extremely significant as it it the oldest known wooden hulled paddle steamers in the world. She was built in Echuca in 1866 and still operates on the Murray River today. She has worked in the Wool Industry, the Timber Industry and the Tourist Industry.This is a coloured square photograph of an orange front end loader clearing a track from Hopwood Gardens down to the river. The track was used to bring the P.S Adelaide from the gardens back into the river. The P.S Adelaide is in the background. The paddle steamer appears to be up on a trailer of some sort and is surrounded but plastic orange temporary fencing. There are small mounds of soil in the foreground.On the orange front end loader are the numbers "5900" and the word "case." p.s. adelaide, grassie, j.g, port of echuca, linklater, george, poon boon station, blair, david, murray river, darling river, logging industry, officer brothers., barmah forest, fulton & shaw, hutchinson, kevin, murray downs station, blackwood, adelaide

The P.S Adelaide was launched on 21st July 1866. It was owned by J.G.Grassie from Poon Boon Station and the Officer Family of Murray Downs Station Swan Hill. The Adelaide was named after the niece of the Officer Bros, Adelaide Blackwood. The shipwright who built her was George Linklater. The Adelaide brought wool and passengers from the wool stations on the Murray and Darling Rivers down to the Echuca Wharf. In 1872 she was sold to David Blair & Sons. She was used to bring timber from the Barmah Forest to the Echuca Wharf. She did this work for the next 80 years. In 1953 she was tied up near the Mill and left. In 1958 she went to Paringa South Australia to work in the sawmill industry again. In 1960 the Echuca Apex Club and The Echuca Historical Society raised enough funds to buy the P.S. Adelaide and return her to Echuca. In November 1963 she was lifted out of the water and placed in Hopwood Gardens as this was thought to be a way of preserving her. In 1984 it was decided to return her to the water to resume work as a passenger vessel. In that time the Port of Echuca and the Echuca Wharf had been restored as a Tourist Precinct. This photograph shows the beginning of the task to return her to the river. It took several weeks in March and April 1984.The P.S Adelaide is extremely significant as it it the oldest known wooden hulled paddle steamers in the world. She was built in Echuca in 1866 and still operates on the Murray River today. She has worked in the Wool Industry, the Timber Industry and the Tourist Industry.Colour photograph of the P.S Adelaide, having been hauled out and dry-docked. The P.S Adelaide is resting on a log platform with a winch attached to the front.p.s. adelaide, grassie, j.g, port of echuca, linklater, george, poon boon station, blair, david, murray river, darling river, logging industry, officer brothers., barmah forest, fulton & shaw, hutchinson, kevin, murray downs station, blackwood, adelaide, 1866, 1984

Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13

This set of two posters were displayed in the sale rooms for wool, skin, hides, and tallow at the Wool Exchange in Melbourne, on the corner of King and Little Collins Street. The posters were found in the storeroom under the white sale room in the late 1970s, when the Melbourne Woolbrokers Association moved around the corner to 530 Little Collins Street. The first poster is dated 21st of September 1914. It predates the second poster which replaced it on the 4th of December 1914. The posters detail that the Auctioneer will accept any bid from German or Austrian buyers on the condition that the buyer is not acting on behalf of any country which is at war with Great Britain. The Auctioneer also reserves the right to cancel any purchases found to be in violation of this condition. Presumably, the posters were in use until 1916, when Australia's 7th Prime Minister, Billy Hughes, negotiated the sale of Australia's entire wool clip to the British Government for the remainder of The Great War. The British government agreed to buy Australia’s entire wool production in 1916 at 55% above market price. In the end, £160,000,000 British pounds was paid by the UK Government to Australia for the nation’s entire wool clip between 1916‑1920. This would be equivalent to £7,619,760,000 in 2022 money when accounting for inflation, or $13,239,000,000 AUD.Two posters on yellowed card. The first poster is printed in black text with a title of “NOTICE”. The second poster is printed in red text with the same title, “NOTICE”. Both posters have 4 body paragraphs of text, detailing restraints put on potential wool buyers because of war with Germany in the Great War. Both Posters are finished with a date in the bottom left corner.the great war, world war one, melbourne wool exchange, melbourne wool brokers association, wool sales, 1910s

Bryan TRUEMAN (13 November 1941- ) Born Derbyshire, England worked in Australia 1975–1992 Bryan Trueman studied at Blackpool School of Art in 1962, undertaking Postgraduate studies at Manchester College of Art in 1963. He toured the east coast of America in 1967-8, then returned to England where he started to train himself in Ceramics. Migrating to Australia in 1975 Bryan Trueman lectured at Caulfield Institute of Technology, Melbourne. In 1982 he opened a studio in Warrandyte, Victoria. Bryan Trueman was a visiting lecturer to the Gippsland Institute of Advanced Education c1982. He is particularly well-known for his painterly use of glazes to depict the Australian landscape, using the platter as the base form. Bryan Trueman was a visiting lecturer to the Gippsland Centre for Art and Design in 1982. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Wheel thrown stoneware platter, with colourful landscape glaze.Bryan Trueman Aug '82ceramics, bryan trueman, gippsland campus, artists, artwork, jan feder memorial ceramics collection, landscape

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Stoneware bowl with single flange. White glaze with copper tint. Dry black glaze underneath and airbrushed lustre banding. Robin Welch stamped on base.ceramics, robin welch, jan feder memorial ceramics collection, jan feder, gippsland campus, stadbroke pottery, mungeribar pottery

Robin WELCH (1936- ) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. Initially studying at Penzance School of Art and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Raku Fired stoneware bowl with White Crackle Glaze by Robin Welch Robin Welch stamped on baserobin welch, ceramics, jan feder memorial ceramics collection, gippsland campus

The first tape based talking book machine from the late 1950s, produced by Clarke & Smith, that allowed the listener to hear up to 20 hours of recordings. Although bulky (each tape cartridge alone weighed over 2 kgs), the MK1 was the first magnetic, multi-track tape produced and considered quite novel for it's time. The cartridge designed to be played on the Clarke & Smith MK1 Talking Book player came in it's own separate container. Each cartridge houses the complete mechanism, track change linkages, replay heads and tape spools, which are stacked on top of each other within the housing. When one track was finished, the user was required to lift the metal cassette, turn it over, and replace it on the turntable. The bulky cartridges were distributed by post or train in strong 'Globite' cases made with reinforced corners and strapped. The costs associated with talking book players were high and individuals/groups/service clubs were asked to sponsor a machine to help those who could not afford to buy or rent one. In this example, a plate attached to the lid indicates who raised the funds: "This talking book/is presented to you/by Tallimba Branch/ of CWA of NSW." Please note: despite images, there are no cartridges with this model.Metal talking book machine housed in a brown wooden carry case. There are two plastic knobs on the front facing right hand side, and an electric cord extending from the back of the case. To the left of the knobs is a speaker grille. Also includes talking book cartridge 'The darling buds of May'.audio equipment, clarke and smith

Alfred 'Alf' Spencer grew up on a dairy farm run by his mother, west south west of Beechworth 'down Robertson Road', and was very well connected to the wider Beechworth area. In this oral history, he recalls his time driving the milk cart around Beechworth as well as the time he spent buying lollies and seeing the pictures. He talks extensively about working as a butcher at his brother's store, including how the butchers interacted with the rest of the town and the staff, as well as his time constructing roads and the pipe network of Beechworth. He discusses the dynamics of other workplaces around Beechworth, describing issues with how the local tannery treated its workers as well as how post-war migrants integrated across the town. He briefly discusses racial tensions between Chinese migrants and other miners on the goldfields. He also discusses the experience of health care in a rural area during his childhood. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Alfred Spencer's oral history of his life around Beechworth during the 20th century is historically and socially significant to the cultural history of the region and Victoria. There is a lot of detail about workplaces, their staff, and how the resources of the town interacted. He explores themes that are important to Victorian history, such as migration. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up to 40 minutes of recordings on each side.Mr Alfred Spencer /listen to what they say, beechworth, oral history, burke museum, spencer, alfred spencer, migration, post-war migration, goldfields, health care, farm, farming, dairy farm, black springs, butchers, meat processing, butcher, road, road network, labour relations

The Eltham Hotel is the oldest continually operating hotel in the Eltham district. Initially referred to as the Little Eltham Hotel, it has been known as the Eltham Hotel since the mid-1850s through to the present except for a brief period as the Eltham Tavern in the late 1980s. The original hotel opened in 1854 by Richard Warren was built by Benjamin Oliver Wallis. The Fountain of Friendship Hotel on the opposite side of Maria Street (Main Road) opened shortly after. The hotel was a well-known resting place for gold diggers during the gold rush at Woods’ Point and Warren would buy the gold from the diggers. Warren ran into financial difficulties and determined to return to England. Wallis bought the hotel in 1861 and ran it till 1886 when he sold it to Christopher Watson Snr. When Christopher Watson Snr died a year after purchase, his son Christopher took over until his death in 1909 when it passed to wife Emily and then their youngest son, Herbert James (Jim) Watson in 1915. In July 1925, Jim Watson demolished the original building and, in its place, erected a modern hotel which remains the foundation of the present-day Eltham Hotel. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p41This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, eltham hotel, main road, pitt street

One of a series of videos "Stories from the Nillumbik Shire with Geoff Paine" A brief overview of the Skipper Cottage or Whitecloud and the Bootmakers cottage (mid 1850s) with Sue Thomas, partner of Adam Skipper who have lived there for about 40 years. Includes a view inside the Bootmaker's cottage. Discusses the flood plain and how the house was moved to its present site on high ground due to flooding. The high ground came about due to dumping of rubble from the quarry where the school car park is which was used to source stone to build the schoolhouse across the road. It was moved on horse and wagon approximately 200 metres. The cottage was previously a Cobb and Co stopping station for mail. When Montsalvat was being built in the 1940s, Lena Skipper who was originally from Sydney invested her money into buying Whitecloud rather than putting money into Montsalvat like many others. Upon her death, Matcham Skipper inherited the house. Seaweed was used as insulation in the ceiling and after Matcham owned it a spark from the fireplace set the seaweed on fire and gutted the front of the house which is now all one big room. Also illustrates some of the changes to the house over the years and its construction. The Elm forest has grown naturally from suckers spread from one tree.MP4 Digital file 00:05:50; 674MBvideo recording, bootmakers cottage, lena skipper, lena thomas, matcham skipper, school residence, skipper house, whitecloud cottage

Copy of possible Rose Stereograph Co. postcard “View at Eltham, Vic.”, c.1924 looking southwest from Main Road near York Street to Bridge Street and the original 1875 bridge across what is now the Alistair Knox Park The land in the foreground was first bought from the Crown by J.M. Holloway in 1851. The land was sub-divided and called "Little Eltham". Bridge Street was created as part of the sub-division. Most of the sub-division was residential lots but the creek valley was divided into lots for small farms. Council started to buy the land for the Eltham Town park in the early 1960s. The area was used as a garbage tip and filled above the flood plain of the creek. Development of the land for a park began in the early 1970s. The house on the right was owned for many years by the Hill family until Council bought it in the early 1960s. The house was built in the 1850s or 60s. The house on the left stood on what is now the southwest corner of Susan and Bridge Streets. The Braithwaite family was associated with this house. The double line of fencing in the foreground was a continuation of York Street to the creek. The Bridge Street bridge was built in 1875 and replaced in 1958. (Ref: Early view of Little Eltham; Byways of History by Colleen Ison, Publication unk, 24 August 1982) Reproduced on p61 of 'Pioneers & Painters' Date estimated on same as View at Hurstbridge featuring Wattle Valley EstateThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 120 format B&W negative Prints 17 x 25 cm and 10 x 15 cmsepp, shire of eltham pioneers photograph collection, eltham, bridge street, bridge, alistair knox park, braithwaite, bridge street bridge, eltham town park, hill family home, main road, pioneers and painters, york street

A froe was used for splitting, or riving, wood in the early days and was a skill practiced by craftsmen who made boards, shingles, c lapboards, fences, basket splints, chair parts, wagon spokes, lath, and more. Our ancestors used axes, gluts or wedges, froes, draw knives and spelk planes for splitting wood.   The froe was designed in many sizes and designs for splitting timber. It is typically an L-shaped tool made up of a wedge-shaped blade with a dull, but not blunt, knife edge and a wood handle. Blades were usually straight with a socket forged at one end for a handle, but curved blades were also made. Most handles were round and tapered and were inserted up through this socket. But some froes had eyes similar to those on axes for handles that were wedged. The froe handle is held in an upright position in one hand while the other hand drives the top of the blade downward with a wood froe club or mallet. After a split is started, the froe is wiggled downward to lengthen it until the split is complete. Most old froes were hand forged, but they were also available in many catalogues. The 1873 D.R. Barton American catalogue offered straight froes at 12 1/2 cents per inch. You can still buy new froes from many tool manufacturers today.A tool that has not changed in design or use since its inception several hundred years ago to split timber for various uses.Froe, also called cooper's froe or stave froe, without handle.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, froe, cooper's froe, stave froe, wood splitter, carpenders tools, coopers tool, splitting timber

On his arrival from Scotland c 1857, James Keir commenced a communion service in his home on the Nepean Road. By 1859 the group-which included such other names as Allen, Brough, Cameron, Fairlam, Holdsworth, Le Page, Meeres, Monk, Organ, Penny, Perry, Potts, Sears and King-had built a small chapel near the corner of Wickham and Chesterville Roads. During 1858, a group had also begun meeting in the Charman family home on the corner of Charman and Balcombe Roads. Names associated with this group included Bodley, Charman, Fisher, Hayes, Hilliar, Judd, Moysey and Ruse. In 1860 they built a chapel on the corner of Charman Road and Patty Street. It was enlarged in 1866 and it became the meeting place of the two groups when they came together around 1870. They were able to buy land near the corner of Chesterville and Nepean Roads, and erected a new brick chapel on the site in 1878. This chapel, of course, continues to be an integral part of the life of the Southern Community Church and was one of the three worship venues for the 150th Anniversary celebration in 2007. The Southern Community Church was formed by the amalgamation of the Cheltenham, East Bentleigh and Hampton Street Churches of Christ in 1993, and a comprehensive new facility was designed and built to accommodate the ever-increasing activity of the amalgamated church. It was opened on 30th November 1997. ( Southern Community Church website 2019)c1878 - continuing The Church or Christ Cheltenham was one of the first places of worship established in Cheltenham by the early settlers. The settlers came together, in private homes at first, to support each other spiritually and physically and later built brick Churches for Sunday services and established social and sporting clubsBlack & White photograph as a postcard invitation to the 40th Anniversary of the Church of Christ corner Chesterville Rd and Nepean Highway Cheltenham ( ? 1900)Front Printed ; Church of Christ Cheltenham Back Printed ; POST CARD / One Penny Postage within Commonwealth / The address only to be written here/ One penny Stamp/ Sunday School Anniversary, / OCTOBER 27TH & OCTOBER 30TH / TO WHICH YOU ARE / CORDIALLY INVITED Handwritten in ink ; H.W. got the cramps in the pants. He took some pills then ran over the hills undatedearly settlers, bentleigh, mckinnon, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, were j.b., o'shannassy john, king richard, charman stephen, highett william, ormond francis, maynard dennis, market gardeners, vineyards, orchards, keir james, lepage frank, lepage everest, holloway josiah, bruton henry, keys robert, judd clarence, fairlam percy, meeres william, southern community church, cheltenham, cheltenham church of christ

This dress belonged to Brighton local Paula Folks, who wore it to her niece's wedding at St John's, Toorak in 1970. It also bears a second connection to Brighton through the label, Elegance, a Flinders Lane fashion house co-owned by Rudy Brill and Brighton resident Robert Salter. Paula was a longtime manager and owner of Pearl's Boutique, a well-known local fashion boutique established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Cream terylene chiffon dress with all-over daisy appliqués. High band collar with v-shaped scoop at back. Sheer long sleeves with gathered cuffs.Label: "miss Elegance / TERYLENE".pearl's boutique, pearl's of brighton, paula folks, 1970s, flinders lane, melbourne designers, robert salter, rudy brill, miss elegance, elegance

Alan PEASCOD (1943-2007). Born England. Arrived Australia 1952. Alan Peascod was one of Australia’s most highly acclaimed ceramic artists. For over 35 years his work has been at the forefront of the Australian ceramics movement, developing radical techniques previously unexplored with his developments in unusual glazes and firing methods. His creative repertoire includes dry glazed vessels, alkaline glazes, majolica, saturated metals, and many post firing finishes. Alan's work with the very difficult reduced lustre technique is highly regarded. He was taught the method by Professor Said El Sadr in Cairo, Egypt in 1972 and this led to lifelong research of the technique throughout the Middle East and Europe. His work in the field led to the completion of his doctoral studies at the University of Wollongong in 1994. This study also led to satirical figurative sculpture themes dealing with the human condition. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.Blue and green dry glaze bottle. alan peascod, ceramics, gippsland, jan feder memorial ceramics collection, gippsland campus, visiting artist

Three documents relating to the redevelopment of Legacy House that was completed in 2006. In a message from the President published in the Bulletin, Legatee Bill Rogers mentions the official opening of Legacy House by the Governor of Victoria Professor David DeKretser AC on 25th August 2006. Also that two new tenants had been secured, IGA and Starbucks. The refurbishment had been necessary to upgrade the lift, provide better wheelchair access and comply with regulations. The notice also mentions an increased use of Direct Mail and the launch of the Torch Society in April. Second document was a reprint from a Press Release in 1957 when Sir Dallas Brooks officially opened Legacy House after purchase and refurbishment. The refurbishment was the first time Legacy approached the general public for funds as 90,000 pounds had been required. It also tells of the history of how Legacy acquired the David H Dureau Memorial Building through funds donated by a donor in 1944, a different property was purchased then sold and funds used to buy 293 Swanston St in 1956. The third document was the address that Bill Rogers spoke at the official opening on 25th August 2006. It mentions Bert Dennis, a former Junior Legatee, was donating the proceeds from an auction of a Dennis Family Homes project the following day. Document was from a folder of documents donated to the archive by Legatee Bill Rogers that related to his time as President (March 2006 - March 2008).A record of the history of Legacy House and its refurbishment over time.Print out x 4 pages about Legacy House, its redevelopment, reopening and history.dureau house, properties