These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and red, white and black text. Back of bag shows red and white graphic image of a woman wearing a dress and heeled shoes holding a coffee cup, with red and white text.Front: THREE BEARS \ PORRIDGE \ FLAKED \ OATMEAL \ SOMEBODYS BEEN TASTIN' MY PORRIDGE \ AN' THEY'VE EATEN IT ALL UP \ Jas. F. McKenzie & Co. Pty. Ltd. \ AUSTRALIA \ 7 LBS. NET. Back: MCKENZIES \ EXCELSIOR \ COFFEE \ ESSENCEwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and white and black text.Front: THREE BEARS \ PORRIDGE \ ROLLED \ OATS \ SOMEBODYS BEEN TASTIN' MY PORRIDGE / AN' THEY'VE EATEN IT ALL UPwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with colour image and black text. Image shows a full length brown horse with bridle.Front: PARSONS FARM ANIMAL SERIES No.3 \ SUFFOLK \ The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England \ and is noted for its hardiness. From 15 to 16 hands in height. The Suffolk in general is smaller than \ the Clydesdale. The head is rather coarse, with the neck short. The body long deep and wide with \ a round full appearance. The croup is straight and legs short and free from leather. The invariable \ colour is chestnut, varying from light to dark.wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic blue and yellow image and text on front. Image shows head and shoulders of person resting on forearms surrounded by flora. Back of bag shows blue and white image of a cube with text and star graphics.Front: HARPER'S \ STAR \ AVENA \ BRAND \ ROLLED OATS \ ??INCORPOR?? ??STORIA?? \ ????? \ AUSTRALIA Back: THE \ SILVER STAR \ RICE \ STARCH \ ROBERT HARPERS AND CO LIMITED \ AUSTRALIA \ THE \ BEST \ IN \ THE \ WORLD \ WONT \ STICK \ TO THE \ IRON \wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico flour bag with red, blue, white and yellow graphic image and text. Image shows head and shoulders of a woman wearing a bakers hat. Reverse side shows same image with slightly different text.Front: O*SO*LITE \ SELF-RAISING \ FLOUR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261 \ SELF RAISING \ SELF RAISING \ SELF RAISING Back: O*SO*LITE \ SELF-RAISING \ FLOUR \ PREPARED WITH PROSPHATE AERATOR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

Barbara Weir (b. 1945-03/01/2023) Born: In the region of Utopia, North East of Alice Springs, formerly known as Derry Downs Station Language: Anmatyerre and Alywarr Country: Atnwengerrp, Utopia Region, North East of Alice Springs, Northern Territory One of the Stolen Generation, Barbara Weir was removed from her Aboriginal family at the age of nine, and she was raised in a series of foster homes. Reuniting with her mother, Minnie Pwerle, in the 1960s, Weir eventually returned to her family territory of Utopia, 300 kilometres northeast of Alice Springs. Active in the local land rights movement of the 1970s Barbara Weir was elected the first woman president of the Indigenous Urapunta Council in 1985. Barbara’s career as an artist was inspired by the dynamic community of artists at Utopia and the work of her adopted auntie Emily Kame Kngwarreye. Highly experimental in her approach, Barabara Weir tried many mediums before travelling to Indonesia in 1994 with other artists to explore batik technique. She returned full of ideas on how to develop her own style which has since evolved to a more expressive abstract form. Grass Seed is part of her Dreamings and is associated with women’s ceremony and the activity of food gathering of local seeds, grasses, berries, potato, plum, banana, flowers and yams. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Barbara Weir's paintings include representations of particular plants and "dreamings". Inspired by a small grass found in Utopia called Lyaw, Munyeroo or Pigsweed, Barbara's Grass Seed paintings consist of a series of small brush strokes that overlap and weave to create a swaying effect. This Dreaming tells the story of grass seed that is part of the bush tucker found in the region of Utopia. This seed is collected, crushed to a fine powder and is then used to make a bread, very similar to damper. The people of Utopia were still using this seed as late as the 1950s. During that time the seed grew in abundance but as the years passed there were very few good seeds to be found due to bullocks roaming the land and eating the grasses. The people then began to eat a substitute that the white man provided, and today very few Aboriginal people collect these seeds. art, artwork, barbara weir, aboriginal, dreaming, stolen generation, acrylic on linen

The photo was taken at 688 Whitehorse Road, Mont Albert. It is of George Lister Coop (b1937) and his sister Alison (b1945). This was the home of 3 generations of the Coop family: 1. Josephine and George Frank Coop (noted in Box Hill Rate Books for 1947-1954). 2. George Burton Coop (1906-1960) and his family. He was Assistant Chief Architect of Victoria in the Public Works Department (P.W.D.) George Burton Coop was born in c1906 in Williamstown, the son of Josephine Vistarini and George Frank Coop. He married Winifred Alice Trewartha in 1936 and they are listed in the electoral rolls at 688 Whitehorse Road in 1937. George died 3/4/1960, aged 54 years at Mont Albert; Alice died in 1980. 3. George Burton and Alice Coop had 2 children: The donor George Lister Coop informed that the wooden shed was a cubby house built upon a degraded tennis court. He recalled that in his youth there were many private tennis courts in the area made possible by the generous size of the blocks of land. George 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 black & white photo of a teen-aged boy with a young girl on a bicycle in front of a timber shed on a degraded paved area. In the background is a paling fence with a strip of un-mown grass. Beyond the fence the outbuildings of the adjacent property can be seen. george lister coop, alison coop, bicycles, whitehorse road, surrey hills, children

The Billiard Room and South wing were completed in 1914, built by recommendation of the Lesee John Newton and the Government Tourist Officer and Supervising officer of the Government Chalet, James Boyce... "Boyce was present at the Chalet on 14 March to witness the completion of the new wing's foundations ...when he returned in June he found the wing approaching completion and that '... the billiard table was expected to reach the Chalet during the week'. The table possibly came second-hand from the Oriental Hotel, Bright. When visiting in March, Boyce had heard from a Mr Tewksbury 'that he is disposing of those at the Oriental Hotel so that if the Public Works Department is going to provide the table for the Chalet it might be possible to pick one up cheap from the Hotel'. It's reasonable that the Chalet did acquire one of the second-hand tables in 1914 and, and changed over to a new model in the 1930s. Three billiard tables remain in the Chalet Billiard Room today; one full sized table and two smaller tables, one perhaps a pool table. The full-sized table was made by the well-known billiard table manufacturers Alcock, Thomson & Taylor, who adopted this name when they merged their billiard businesses in January 1930. Henry Upton Alcock had initially established the business in Fitzroy in the mid-1850's and the table at the Chalet resembles the 'Squatter's Favourite' model that Alcock first produced in the nineteenth century from Australian timbers. this style of table was installed in Melbourne's Parliament buildings, several prestigious clubs as well as hotels and houses."(Pg 13-14. Historica)Listed in Appendix A.1 Furnishings. - Billiard Room. Draft Inventory of significant Collection Items. (Pg 162 Historica, 2011)1. Full size billiard table made of dark wood with eight turned legs. Green blaize covered table surface. 2.Wooden triangle to enclose balls. 3.balls(16) .4 Wooden backed bristle brush with VR stamp. 5. Billiard scorer with Alcock & Taylor, Pty, Ltd. 6. framed billiard rules. 7. Pool balls & cue rest. .8Plus 1x revised rules of pool framed behind glass.(stored in area 23) 1 x original cue rest.Alcock, Thomson & Taylor.

These photographs were taken in and around Falls Creek by Samuel Keith Pearce and printed for him as a foldout postcard by NuColor Vue. The postcards state they were printed for S. K. Pearce Pty. Ltd of Tawonga and Mount Beauty. Samuel Keith Pearce was born on 24 June 1917 in Armadale, Victoria. By the late 1940s he owned the Mt Beauty Supermarket, Newsagency, Drapery and Hardware store at Mount Beauty and also a store at Tawonga in partnership with his brother Gordon Cathew Pearce. For some time, they operated as Pearce Brothers. In the early 1960s Keith also opened a mini mart In Falls Creek. As well as being a keen photographer and an astute businessman, Keith Pearce was a well-known identity in the Kiewa Valley, making many contributions to the development of the area over a long period. This included serving as a member of the Bright Shire Council for many years. He worked hard to promote the interests of the Upper Kiewa Valley. As a sign of recognition and appreciation for his contribution to the community, the park opposite the grocery store in Mount Beauty was named the SK Pearce Gardens in his honour. Samuel Keith Pearce died on 7 July 1994 in Mount Beauty, Victoria. The first Poma tow to open at Falls Creek was the Nursery Poma in 1964. The name "Poma" originates from the inventor of this style of lift Jean Pomagalski who was born in Krakow, Poland, He fled Poland with his family and settled in France. As an engineer he developed the first surface lift with a tow rod which was installed in Alpe d'Huez (France) in 1934.This collection of postcards and images is significant because they were commissioned by a highly successful businessman in Falls Creek, Victoria.A colour image of skiers on the chair lift at Falls Creekfalls creek, falls creek chairlifts, poma lift falls creek

These photographs were taken in and around Falls Creek by Samuel Keith Pearce and printed for him as a foldout postcard by NuColor Vue. The postcards state they were printed for S. K. Pearce Pty. Ltd of Tawonga and Mount Beauty. Samuel Keith Pearce was born on 24 June 1917 in Armadale, Victoria. By the late 1940s he owned the Mt Beauty Supermarket, Newsagency, Drapery and Hardware store at Mount Beauty and also a store at Tawonga in partnership with his brother Gordon Cathew Pearce. For some time, they operated as Pearce Brothers. In the early 1960s Keith also opened a mini mart In Falls Creek. As well as being a keen photographer and an astute businessman, Keith Pearce was a well-known identity in the Kiewa Valley, making many contributions to the development of the area over a long period. This included serving as a member of the Bright Shire Council for many years. He worked hard to promote the interests of the Upper Kiewa Valley. As a sign of recognition and appreciation for his contribution to the community, the park opposite the grocery store in Mount Beauty was named the SK Pearce Gardens in his honour. Samuel Keith Pearce died on 7 July 1994 in Mount Beauty, Victoria. The first Poma tow to open at Falls Creek was the Nursery Poma in 1964. The name "Poma" originates from the inventor of this style of lift Jean Pomagalski who was born in Krakow, Poland, He fled Poland with his family and settled in France. As an engineer he developed the first surface lift with a tow rod which was installed in Alpe d'Huez (France) in 1934.This collection of postcards and images is significant because they were commissioned by a highly successful businessman in Falls Creek, Victoria.A colour image of skiers and instructors gathered at the Meeting Place, Falls Creekfalls creek, falls creek chairlifts, poma lift falls creek

The two‐door cabinet with a bench top is a simply made nineteenth century utilitarian cupboard. It is similar in style to cupboards that were built into spaces either side of fireplaces in keepers’ quarters. All have two doors simply framed around recessed central panels, which are sometimes bevelled. They are opened with a key, or by a basic knob made of metal or turned wood. Most also are made from a light‐coloured wood, which in this case is possibly Huon pine. Some are painted, others show evidence of paint which has since been removed in an effort to restore the surface, and a few retain their original wood finish. This cabinet, which has plain recessed unbevelled panels, has one internal shelf and stands on the floor without a plinth base. The bench top has basic squared edges, and a low backing with curved ends extends around one side. These features suggest the cabinet was fixed and originally built into a corner. The Cape Nelson CMP identified a similar but slightly different cabinet in one of the assistant keepers’ quarters which is shown with shelves added to the top. Other similar two‐door, benchtop cupboards that were probably built‐in include those at Cape Otway and Cape Schanck , which have since been moved out of the residences. Built‐in cabinets were standard fittings in lightkeeper quarters as illustrated by the Point Hicks Lightstation CMP, which shows a built cupboard beside a fireplace. The Cape Nelson cabinet, an original domestic furnishing provided by the Public Works Department, has first level contributory significance for its historic values and provenance to the lightstation.Two‐door cabinet with a bench top. The doors are simply framed around recessed central panels.Light coloured wood.

Stan and Mary Parker commenced the Plant Farm in Smythe Street Wodonga in February 1949. The nursery consisted of two blocks, on one of which their house was built. They started off with approximately £70 and a 1939 Singer mini-Ute. In the early days most customers came from the farming community. In late 1951 the Parkers purchased to a new site on the corner of High and Osburne Streets. Business went well and in 1957 they purchased the adjoining block. They later demolished the old house on the corner of High Street and Osburne Street, building a new home lower on the same block. As the nursery prospered Stan and Mary built a shop and showrooms with glassed-in portion for the indoor plants and a large shaded area for the display of shrubs. In 1978 they sold the nursery to Mr. & Mrs. John Gale. In 1981 the Wodonga Plant farm was purchased Geoff and Kay Pollard and they moved to its current location at the corner of Beechworth Road and Huon Creek Road. Initially they brought it as an investment but it soon got into their blood and chose to not only continue but expand the nursery and its offerings. This included a large showroom, a water shop which specialises in pool equipment, chemicals and water testing, a children's playground and an outdoor blind centre. Further expansions led to the addition of a Tuscan-style cafe on the site which has become a meeting place. The business was nominated the Yates Victorian Best Garden Centre in Australia for many years and won the award in 1997. In 2024, the Wodonga Plant Farm is still a vibrant and popular business being operated by the Pollard Family.These items are significant because they document the story of respected Wodonga Business which has served the community for over 60 years.A selection of photographs and article documenting the story of the Wodonga Plant Farmearly wodonga businesses, wodonga plant farm, pollard family, geoff and kay pollard

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This quilt sampler was made before 1900 by Rosina Ellwood. Crazy quilts were fashionable in the late Victorian era. The rise of the trend is attributed to the display of Japanese art and ceramics at the 1876 Philadelphia Centennial Exposition (U.S.A.) that featured asymmetrical designs. Inspired, quilters began sewing pieces of fabric of different sizes and textures together into abstract, asymmetrical patterns. The craze spread from America around the world. Embroidery, ribbon and silk embellishments, and hand stitched applique birds and flowers were popular additions. One magazine estimated that a detailed crazy quilt could take over 1,500 hours to complete. Crazy quilts remained in fashion in metropolitan cities until about 1910, though the style endured for longer in rural areas. This item is unique, handmade and has 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, social history and women’s history.A colourful patchwork quilt sampler using mixed fabric types including velvet, cotton, brocade and satin, backed on cardboard.hamilton-smith collection, hamilton-smith, stiching, needlework, sewing, handmade, domestic, quilt, quilts, crazy quilt, crazy quilts, women's history

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of some officers on board, including the Padre Jefferies, the CO was Major Dunningham and also Major Blake.The style of life boats is also visible. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of officers onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Baby Show Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, soliders

One photo from an album belonging to JB McLean, of his voyage home from World War 1 in 1920 on the Ceramic. The photo is of the Commanding Officer Major Dunningham and also Padre Jefferies and the Commander of the ship Com. Metcalf. The style of life boats is also visible. The Ceramic departed Tillbury, UK 12th March and docked in Freemantle on 27th April 1920 and then went onto Adelaide, Melbourne and Sydney. The Ceramic was a transport vessel built in Belfast in 1913 for the White Star Line to transport frozen produce and apples from Australia to UK. It was taken over by the Australian Government for troop transport in October 1914 and could carry over 3,000 troops. This trip in 1920 there were 1467 on board, there were women and children as well as 439 soldiers returning home, one of whom was John 'Basil' McLean. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920.A collection of items from John Basil McLean is in the archive. Kept as an indication of what founding legatees experienced in World War One and what they saw on the way home.Sepia photo of officers onboard the Ceramic glued to black cardboard in an album of photos from 1920.Handwritten caption 'Baby Show Ceramic' in white ink.souvenir, world war one, jb mclean, ship, ceramic, soliders

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A marble baptisimal font in Daylesford Uniting Church.In loving memory of my dear husband The late Rev. T. Pollard James 28.9.41daylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, daylesford uniting sunday school, baptisimal font, t. pollard james

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A redbrick church on stone foundation in Daylesforddaylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, crouch and wilson, daylesford uniting sunday school

The Daylesford Uniting Church (formerly Wesleyan /Methodist Church) was built in 1865, replacing an earlier Wesleyan Chapel built in 1861 which is still on site and known as the Sunday School (2024). The foundaton stone for the newer, current church was laid on 12 June 1865, designed by Architects Crouch and Wilson the structure was built in early English Gothic style. The first service was held in the new church on 10 December 1865. It is of interest for its brick broach spire, diapered brick façade and spacious interior with aisles separated from the nave by slender columns. The church organ was installed and built in 1888 by William Anderson and boasts an impressive 724 pipes, many of which are decorated with Christian symbols. This organ is a rare example of Anderson’s work and is his only instrument in Western Victoria. It is classified by the National Trust of Australia (Victoria) as being of state significance. The organ was renpvated in 1979-80 by Leighton Turner. It has 2 manuals, 14 speaking stops, 3 couplers, tracker action, Gt: 8.8 divided.8.4.4.2-2/3.2. Sw: 8.8.4.2.8. Ped: 16. In the 1880s the decline in mining led to the congregation considering ways to reduce debt. Rent was received from pew hire as well as organ concerts and annual fairs. By the end of the 19th century the church had settled into a pattern of steady parish life. The 1950s and 1960s were really the glory days of the church with an active Sunday School, tennis clubs and vibrant social activity as well as many worshippers at Sunday services. The final service was held at the church on 21 April 2024.A stone church in Daylesford. Originally built at the Daylesford Wesleyan Chapel, it was later used as the Daylesford Uniting Church Sunday School. daylesford uniting church, daylesford methodist church, daylesford, john mitchell uniting church, daylesford wesleyan church, daylesford uniting sunday school

The arrival of the railway from Melbourne to Wodonga was celebrated on 21st November 1873. The railway line between Melbourne and Wodonga was constructed in three sections. The first section from Essendon to Seymour was fifty-six miles. It was constructed by Messrs. O'Grady, Leggatt and Noonan at a cost of £305,558. The second section from Seymour to Benalla was sixty miles under contract to Messrs. Styles, Murray and Co. for £314,994. The final section of sixty six miles to Wodonga was constructed by Messrs. Cain, Dalrymple and Holton for £350,100. The Illustrated Australian News for Home Readers 4 December 1873 reported extensively on the event. The Victorian Government was determined to celebrate the event with a banquet, to which twelve hundred guests were invited. Four special trains had departed Melbourne to bring dignitaries to Wodonga. The Governor Sir George Bowen, Lady Bowen and, two Misses Bowen, were among the guests. Sir George Bowen proposed a toast to the “Prosperity to the North-eastern railway”. The banquet was held in marquees erected for the event, although the facilities struggled to cater adequately for the more than 5,000 people who arrived to celebrate. The estimated population of Wodonga was 500 only people. That evening a ball was held in the goods' shed, which was handsomely decorated with flags, evergreens and flowers. About five hundred guests were present. It would be another decade before New South Wales completed the line from Sydney to Albury and a connecting rail bridge was built over the Murray River.This item is significant because it documents the festivities celebrating the arrival of the railway line in Wodonga.A colourised version of a newspaper article documenting the celebrations for the arrival of the North Eastern Railway to Wodonga. It depicts crowds of people congregated near the railway line area. Large tents have been erected to house visitors and special activities. The railway goods shed can be seen in the background and a steam locomotive is on the track. The image was accompanied by a lengthy article which detailed the development of the railway line.northeast railway line, wodonga transport

Composite face legs and arms. Painted features. Hair - possibly real, dark brown colour. Doll dressed in royal purple gown. Long sleeves with lace cuff. Faux fur collar around V shaped neckline at front and squared collar at back. Lace trim across front of neckline. Faux fur trim across centre front and centre back at hem. Three underskirts. Mauve satin with darker mauve frill around hem line. Stiffened white fabric (Vilene?) White drawers with lace trim on lower legs. Painted on shoes in gold paint. Purple velvet handbag edged with silver cord. Boudoir dolls are dolls that are made to sit on beds and sofas as decorations rather than being used for play. They are also called bed dolls, flapper dolls, and French dolls. Years of Production Although dolls that sit on beds are still being made today, the classic vintage boudoir dolls were made from approximately the 1920s through the 1940s. Some of the earliest dolls, made even earlier than 1920 in some cases, were made in France. Many of the dolls were made in an art deco style.

Ladies waist length black satin boned bodice. Chelsea style collar forming V shaped neckline dipping to eight cm above the waist. Centre insert of horizontal pintucked fabric extends at centre front from throat to just above wrist. Fastened at centre front with thirteen metal hooks and eyes and crossover fastened on LHS with four hooks and eyes. Bodice is lined with black cotton fabric. Collar extends over shoulders to form imitation collar at back extending to centre back waistline. Centre V shaped insert of pintucked fabric hand stitched in place. Nine fabric encased bones inserted into waistband. Two bones on either side of front of bodice, and one bone on each side seam and three bones across the back of the bodice. Stand-up collar with horizontal pleating (5cm wide). Fastened over left shoulder with three metal hooks and eyes. Long sleeves widening at elbow and gathered onto 25 cm lower sleeve narrowing to wrist. Lower sleeve has three X three groups of horizontal pintucks. Slit at wrist - eight cm fastened with two metal hooks and eyes.costume, female, ladies black satin boned bodice

The photograph shows a group of Royal District Nursing Service (RDNS) Sisters receiving a lecture on 'Physical Handicap' given by Sr. Rowley in the Education Department at RDNS Headquarters 452 St. Kilda Road, Melbourne. Sr. Rowley is the Principal Nurse Educator at RDNS.Education was an integral part of Melbourne District Nursing Society (MDNS), from its inception in 1885, later, in 1966, called Royal District Nursing Service, (RDNS). From 1885, only Trained nurses (Nurses), through the Hospital training system, were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961, Education programs commenced at MDNS with Trained nurses (Sisters) receiving In-service education. Sr. Pat (Paddy) Rowley was a leader in In-service Education and established the RDNS Department of Community Nursing Education in 1962. Staff could also apply for scholarships to further their education outside of RDNS. Many of their senior Sisters received Postgraduate diplomas from the College of Nursing in Community Health Nursing, Education, and Administration, and several travelled overseas visiting nursing organizations viewing their public health and District nursing systems. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and the Homeless Persons Program. RDNS Sisters attended several hospitals to observe and learn special care needed to some patients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic patients at home, and to Mount Royal Hospital to observe the care of patients in the Rehabilitation ward. A Community Nursing Education Program was extended to student nurses from hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin obtained a Post Basic Certificate in Psychiatric Nursing and included this area in her Education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of the RDNS Sisters. This black and white photograph shows the back view of four rows of Royal District Nursing Service (RDNS) Sisters sitting at small tables and looking toward Sister Pat (Paddy) Rowley who is facing them. She is in the rear centre of the photograph. The 16 Sisters, some partly hidden, are wearing a variety of summer day clothes. Spectacle cases, pens, sheets of paper, and some books are on the tables in front of them. Sister Rowley who wears glasses; has short straight dark hair, is wearing a white short sleeve blouse under a dark V neck tunic style dress. She is looking at the group and her right hand is pointing to writing on a large blackboard standing to her right. To the left of the blackboard, a draped Human Torso Model sits on a table. A long dark curtain hangs behind part of the blackboard. Running along the left of the photograph is a wooden door with glass panels at the top, some light colour wall with a dark picture rail, and a set of double glass doors with long grey curtains either side. To the right of Sr. Rowley part of a large white board is seen hanging above and below the dark picture rail on the wall.Barry Sutton LY 69rdns, royal district nursing service, rdns education, sister pat (paddy) rowley

This black and white photograph is taken in the Education Department at Western General Hospital. Sr, Nan Deakin is a Nurse Educator with RDNS and is giving a lecture about District Nursing to hospital student nurses before each nurse goes to RDNS Centres. This lecture prepares each nurse before she goes out for a week with an RDNS Sister to visit patients who are receiving nursing care in their home.During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to a RDNS Centre and each student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge of all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 Student nurses who received District field experience with RDNS.This black and white photograph shows the back view of three rows of hospital student nurses in their white uniforms and caps, sitting at small tables facing toward, on the left, Royal District Nursing Service (RDNS), Nurse Educator, Sister Nan Deakin, and their hospital Tutor Sister who is wearing her white uniform. The Sisters are standing in front of a large blackboard at the rear of the photograph facing the group. A smaller blackboard is attached to the wall to the left. On the right, the Tutor Sister has short dark curly hair and is standing side-on turned toward Sr. Deakin who is to her left. Sr. Deakin has short dark straight hair; is wearing glasses; and is wearing her RDNS uniform of a light grey skivvie under a darker V neck tunic style frock. She has her hands crossed and is holding sheets of paper in her right hand. There is a dark table to her left with a book and a short collapsible lectern on it. To the left of that is a row of short wooden cupboards and above that an open window with a horizontal striped curtain on the far end. The metal framed tables in front of the nurses have white wooden tops and have books, papers, pens and rulers on them.Barry Sutton MA 75royal district nursing service, rdns, rdns education, western general hospital students, sister nan deakin

Demonstrates the Museum's ticketing systems and ongoing production of tickets.Four Blocks of 100 tickets - black ink on off white paper, with ticket number in black ink denomination $1, headed Ballarat Vintage Tramway. On rear in black ink is an advertisement for the Tram Family Restaurant, corner Macarthur and Drummond St. North. The 100 tickets have been stapled onto a heavy brown cardboard back with a heavy metal staple and a small brown cardboard retaining strip or butt at the top of the ticket. 2432.1 - A00001 to A00100 (The first block collected at the time of issue 1/12/1987) 2432.2 - A00201 to A00300 (collected at the same time) 2432.3 - A00301 to A00400 (collected at the same time) 2433.4 - A00001 to A00100 (lighter black ink, larger block size the others, was part of a rejected run of tickets by the printer, printing too light, wrong type of paper and too large size to that ordered, rest of tickets were returned.) The tickets are in the style of the former State Electricity Commission of Victoria tramway tickets. Tickets in use as adult return fare from 1/12/87 to 30/6/91. Note last block issued 19/1/1991. Replaced with the 1/- tickets. See BTM fare chart, BTM Ticket issuing sheets.trams, tramways, btm, tickets

Paper detailing the Morning and Afternoon Service, Wreath Laying, Order of March, Assembly Points and Movement for the Anzac Day Service on Saturday, 25th April, 1959. Mentioned are: Mr W E P Carruthers, Lt Commander Herniman RN, Col L J Lockwood, 38 Infantry Battalion, Lt Col D Scholes, Ex-Navalmen's Club, Airforce Association, Railway Sub-section R.S.L., Bendigo Legacy Club, 6th Battalion Social Club, 38th Battalion Social Club, Rats of Tobruk Association, Ex P.O.W. Association, R.A.A.O.C., T.P.I. Social Club, Interunits Social Club, 105 Anti-Tank Social Club, 4th Aust. Armoured Regt. Social Club, Repatriation Local Committee, Catholic War Veterans Association, Bendigo Dad's Association, Legion of Exservicemen and Women, R.S.L. Women's Auxiliary, War Widows' Guild, S.S. & A. Mothers' Association, Ex-Navalmen's Club Ladies' Auxiliary, Airforce Association Ladies' Auxiliary, 38th Inf. Bn Ladies' Auxiliary, Sea Cadets, Air Cadets, Major T Martin, Mr G Styles, Court House Hotel, Sound Shell, and G F Osborne.event, official, anzac memorial service, r.s.l. bendigo collection - anzac service 1959, mr w e p carruthers, lt commander herniman rn, col l j lockwood, 38 infantry battalion, lt col d scholes, ex-navalmen's club, airforce association, railway sub-section r.s.l., bendigo legacy club, 6th battalion social club, 38th battalion social club, rats of tobruk association, ex p.o.w. association, r.a.a.o.c., t.p.i. social club, interunits social club, 105 anti-tank social club, 4th aust. armoured regt. social club, repatriation local committee, catholic war veterans association, bendigo dad's association, legion of exservicemen and women, r.s.l. women's auxiliary, war widows' guild, s.s. & a. mothers' association, ex-navalmen's club ladies' auxiliary, airforce association ladies' auxiliary, 38th inf. bn ladies' auxiliary, sea cadets, air cadets, major t martin, mr g styles, court house hotel, sound shell, g f osborne

Hilda Hill Collection. Black & White Photos Depicting Family Life Total 8. Dora dressed all in white and wearing a small hat standing within the branches of a tree, 'the lawns' 1917. Hilda & Rose S.H.L.C. 1917, Hilda wears a white hat and lightly coloured outfit, Rose is wearing a dark hat and dark outfit, both seated on a lawn area. Three boys (unnamed), wearing swimming outfits in the surf at Brighton 1918. Hilda & Dora both dressed in light coloured blouses and dark coats with decorative collars and similar style hats, at Hanging Rock July 1923. Frank at 'The Ranch' Easter Tuesday 1918, Dressed in dark suit and white shirt with bow tie, verandah post on left and weatherboard house in the background. Unknown female dressed in dark dress with white collar, large flower pot on verandah, house window in background, plant trellis to right. Jack, dressed in dark coat over light coloured shirt and lighter coloured trousers sitting on snow bank at 'Buffalo' 1923. Photo of the 'Chalet' at Mt Buffalo, covered in snow and the snow covered gardens in foreground, farm type post and wire fence also enclosing the garden.Hilda Hill Personal Collectionaustralia, history, family life

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s