These are copies of an original video shot by Ray Barling on the day that the Orbost-Bairnsdale line closed in 1987. He used a hand-held video camera from his cabin on the train, The video was shown at the 2016 Centenary Exhibition in Orbost. The Bairnsdale-Orbost railway was opened in 1916 to serve the agricultural and timber industry. Because of the decline in traffic and heavy operating costs, the line was finally closed in August, 1987. Orbost Railway Station was opened on Monday 10 April 1916 as the terminus of the Orbost railway line, and closed in 1987. The station was located on the west side of the Snowy River despite the town of Orbost being on the east side of the river, in order to save on the costs of a bridge over the river, which at the time had highly variable levels. This item is associated with the history of the Orbost-Bairnsdale railway line and therefore reflects the role that the rail line played in the social and economic history of Orbost. On April 10 1916, the first scheduled train service left Orbost for Bairnsdale. The Bairnsdale-Orbost railway was opened to serve the agricultural and timber industry. Because of the decline in traffic and heavy operating costs, the line was finally closed in August, 1987. Orbost Railway Station was opened on Monday 10 April 1916 as the terminus of the Orbost railway line, and closed in 1987. The station was located on the west side of the Snowy River despite the town of Orbost being on the east side of the river, in order to save on the costs of a bridge over the river, which at the time had highly variable levels, The video was shown for the first time at the Centenary Exhibition held in Orbost, by the Orbost & District Historical Society, t created much interest leading to the production of the videos.Two copies of a D.V.D. titled"Last Train To Orbost 21 August 1987". The cover is a photo of the last train.rail-closure orbost-bairnsdale-railway

Women's event held since 1991 reflecting the increasing number of women players. Winners were: 1995 J Roberts, 1996 E Maloney, 1997 D Delaney, 1998 G Edny, 1999 G Edney, 2000 J Hortin, 2001 W Mason, 2002 T Smith, 2003 W Bason, 2004 J Hortin, 2005 G Edney, 2006 K Burl, 2007 G Edney 2008 M Hammond, 2009 R Westacott, 2010 M Hammond, 2011 K Robertson, 2012 Marion Gordon, 2013 Katherine Robertson, 2014 K Burl, 2015 Kathy Burl, 2016 Debbie Norton, 2017 Marion Gordon, 2018 Pam Payne, 2019 Deb NortonSignificant as it records the clubs B grade winners over time.Silver cup with plastic, wood like base and shield shaped plaques attached for engraved namesEngraved with event title" Peterborough Golf Club Ladies B Grade Championship. Donated by Lois Cumming". Winners names engraved belowpeterborough, peterborough golf club, women's golf, sporting events, sporting honour boards, sporting trophies

Alan, born at Cobram on 25 February 1920, was a member of the Dunstan family of Yarrawonga and member of the Royal Australian Navy Band. All of his siblings were musical. The portrait hung in the home of Alan's parents Joseph and Harriet Dunstan who lived at 40 Hume St Yarrawonga. (now the site of Karana Nursing home). After their death the portrait was in the possession of Alan's youngest sibling Dawn White (nee Dunstan). Dawn passed away in 2016. Alan enlisted at Yarrawonga on 4th August 1941 and served on HMAS Australia the flagship of the Australian Navy.no 24862. At the time of his death 25 February 1945 he was serving on the HMAS Rushcutter. He is buried at Rookwood War Cemetery, Sydney. Service Ornately decorated oval shaped frame containing hand coloured photo of Alan Dunstan. Frame made of painted pressed woodWesley Durburtiry??

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Cream and green silk floral hat on net designed by the Kew milliner Anne Harrison.Label: Anne Harrison of Kew, WA 9906anne harrison of kew, milliners - kew (vic), women's clothing, costume accesories - hats, fashion and textiles collection - kew historical society

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.Local significanceBlue banded conical hat with cream flowers and green leaves at front and on top by Anne Harrison of KewLabel: "Anne Harrison of Kew"anne harrison of kew, hats, headwear, milliners -- kew (vic.)

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.Local significanceRound pink (faded) floral hat on net. Flowers monochrome daisiesLabel: "Anne Harrison of Kew"anne harrison of kew, hats, headwear, milliners -- kew (vic.)

Marion 'Annie' (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green silk woman’s hat in a soft unstructured style retailed by Anne Harrison of Kew. The hat is banded with braid in contrasting colours. It has a soft bow at the rear.Label: Anne Harrison of Kew. WM 9906anne harrison, milliners - kew (vic), women's clothing -- hats

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Apricot coloured felt woman’s hat retailed by Anne Harrison of Kew. The design includes a contrasting band of black ribbon at the base of the crown. The ribbon is shaped into a flat bow at the rear of the hat.Label: Anne Harrison of Kew. WM 9906anne harrison, milliners - kew (vic), women's clothing, costume accessories

Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green and black felt woman’s hat retailed by Anne Harrison of Kew. The pale green crown is bordered by a black turned up rim. An additional adornmant to the hat is an abstract bow at the front made of black felt.Label: Anne Harrison of Kew. WM 9906.anne harrison, women's clothing, costume accesories - hats, fashion and textiles collection - kew historical society, cloche hats, milliners - kew (vic)

Has Tram 3509 on front cover, (which was an Art Tram for 2016 by Damiano Bertoli). Gives the Artist and tram number on the inside of the document. Has details of the program on the rear. Notes trams can be found using TramTracker. Emma Anna - Tram 3532 Matthew Clarke - Tram 2012 Bushra Hasan - tram 2007 Oliver Hutchison - Tram 5106 Justine Mcallister - Tram 273 Josh Muir - Tram 2054 Robert Owen - Tram 3008 St Albans Heights Primary School's Community Hub - Tram 5002 Has an image of Michael Leunig from Transporting Art image on rear cover. The Artist statement web page was accessed and placed into a pdf document - see image i3.Yields information about the 2017 to 2018 Art TramsTwo page DL size pamphlet, printed on light card, full colour titled "Melbourne Art Trams - Oct 2017 - Apr 2018", with subtitle "People's Choice Award". trams, tramways, transporting art, art trams, decorated trams, tram 3532, tram 2012, tram 2007, tram 5106, tram 273, tram 2054, tram 3008, tram 5002

The event was started by Michelle Ryan in memory of her mother "Tupps" Ryan, who was a long time resident of the town. Winners are: Women: 1996 L Bourke 84, 1997 I Younis 77, 1998 F Rundle 79, 1999 L Bourke 73, 2000 P Roberts 80, 2001 L Loader (9 holes) 42, 2002 I Younis 78, 2003 E Willox 81, 2004 F Rundle, 2005 F Rundell 72, 2006 M Hesketh 69, 2007 M Hesketh 84, 2008 F Rundle 83, 2009 F Rundle 79, 2010 F Rundell 81, 2011 M Hammond 89, 2012 M Hammond 82, 2013 K Robertson, 2014 K Burl, 2015 T Cartledge, 2016 J Walsh, 2017 T Cartledge 2018 K Hammond. Men 1996 W Couch 66, 1997 W Dumesny 66, 1998 A Klemn 73, 1999 W Couch 64, 2000 D Smith 69, 2001 D Bradshaw (9 holes) 30, 2002 D Bradshaw 68, 2003 D Bradshaw 65, 2004 P Plozza 63, 2005 D Bradshaw 78, 2006 W Dumesny 62, 2007 P Plozza 66, 2008 B Dumesny 68, 2009 L Smith 70, 2010 B Dumesny 73, 2011 B Norton 75, 2012 A Haberfield 73, 2013 W Dumesny, 2014 W Dumesney, 2015 J Mckenzie, 2016 B Dumesny, 2017 H Huffadine, 2018 B Hammond. Significant as it records the successive winners and their scores. It is an ongoing memorial to "Tupps" Ryan who was a stalwart of the town.Wooden base with sculpted central column with two side wings with a gold painted golfer on top. Glued to the front is a representative ball, flag and hole.Inscribed on the base " The Michelle Ryan Day Stroke Event sponsored by the Rylance Family. The winners and score are inscribed onto individual plates attached to the front and back of the "wings"peterborough, golf, peterborough golf club, michelle ryan day

"Who would have thought that a boy born in 1889 from the Victorian Mallee would become a successful artist on New York’s Staten Island? This finely illustrated, exhaustively researched and beautifully written biography on Leason features the artist’s entire career as a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. Leason’s story is a poignant one tracing his beginnings as a cartoonist, to the bohemian Melbourne art scene in the early 20th century, to his involvement in the artists’ camps of Eltham, to his important series of portraits of Lake Tyers Indigenous Australians, and his eventual move to the US where he has been acknowledged as making an enormous contribution to the New York arts scene. This story, as yet untold, fills a gap in the history of art in Australia and offers a new perspective on Australian art in the first half of the 20th century." - Thames and Hudson website A NEW HOME IN ELTHAM Once they had settled back into Melbourne, Perry and Belle began to look for a place to make a permanent home. Having enjoyed the bush setting of Mosman, they decided to explore the rural fringes of Melbourne. Each weekend they packed a picnic and travelled to the towns in the nearby hills - such as Ferntree Gully, Sassafras, Lilydale and, of course, Cockatoo Creek. Eventually deciding these places might be a little too far from The Herald office, they searched closer to the city. The Heidelberg and Box Hill regions that had inspired his old teacher McCubbin, had become busy, urban areas but further east, towards Warrandyte and Templestowe, there were still large tracts of bush. Finally they settled on Eltham, an area Percy knew very well, having often painted there with Jock Frater. Perry's old friend Dick McCann and his wife Margery had also settled in Eltham. The township was fifteen miles from Melbourne and serviced by an electric train that went to the central Melbourne station of Flinders Street, near where The Herald offices were located. Eltham was a small village in 1925, separated from Melbourne by the Yarra River, and surrounded by orchards and large tracts of bush. Small farms dotted the landscape and the main businesses revolved around ironmongers, blacksmiths, and farming supplies. Of particular appeal to artists was Eltham Park, a large expanse of bushland bounded by the Yarra River on the south side and the Diamond Creek on the east. The park included a playing field that was busy on weekends with cricket or football matches, but for the rest of the week it was mostly empty and an ideal place to paint. The scenery there provided the inspiration for many paintings by Leason, Meldrum and other artists such as Colin Colahan and Peter (A.E.) Newburv. The Leasons found a rundown old farmhouse on four-and-a-half acres of land in New Street, now known as Lavender Park Road. The site was splendid, at the top of a gentle slope which gave panoramic views east to the Dandenong hills, south over the Templestowe orchards and north to Kinglake. The front lawn was taken over by onion grass (or wiregrass as Leason called it) and scattered about the property were many wattles and gum trees. Aloe cacti covered much to the front of the house, while old quince and lucerne hedges separated the house and out-buildings from a rundown apple orchard. Here they would build a new home. ·with financial assistance from The Herald, Leason bought the property and immediately commissioned an architectural firm to design a new house in the popular bungalow style of the time. The old farm house was demolished but Percy saved the siding boards, bricks and corrugated iron for the outbuildings of his new home. The new house was a two storey, triple brick with a large, gabled, terracotta tiled roof. It was situated at the very top of the slope. The paint and varnish were barely dry when the family moved in during the summer of 1925-26 and the fumes were overpowering in the heat. Despite the house being wired for electricity, power poles had not yet reached the area and initially the family had to rely on kerosene lamps and candles. When electricity did arrive, Leason reflected on the community's reception of electricity at the expense of the old growth gum tree corridors in his cartoon, Electricity comes to Wiregrass. The family had now grown to seven. Jack was nearly nine, Jean was seven, Marjory was four, Nancy was two and the baby Patricia was seven months old. Jack and Jean were enrolled in the local primary school down the hill. A retired farmer, Jock McMillan, came to live on the property and help out with the general maintenance. Jock built himself a shack and Belle provided him with meals. He was kept occupied building structures around the property·, such as the garage, the outside toilet, garden beds, trellis arbours and a number of ponds. The elderly, bearded Scotsman with his old hat and baggy pants also provided the inspiration for one of the characters Leason regularly included in his cartoons. Like Leason, Jock smoked a straight stemmed pipe. A neighbour was employed to help Belle with domestic chores, and so the family settled down to live comfortably in their new Eltham house. Two dogs, Maginary and Wodger, completed the large and vibrant household. “Percy Leason; an artist’s life” by Margot Tasca, Thames & Hudson Australia Pty Ltd, Port Melbourne 2016, pp 63-64 Hardback Bookpercy leason, margot tasca, biography, artist, landscape

35mm wide strip film of a copy of the front page of the Ballarat Courier of 30-7-1971, featuring the story of a Ballarat tram driver being hijacked on the Mt Pleasant route and the driver being tied up after travelling along the route. Film strip includes photograph of the order form and order cover - see item No. 710.1 for a print of the newspaper article. Concerns the tram hijack With item in folder 01-01-04 is a set of copies of the item. In box 01-03-60 is the item used in the CHHA Law & Order Exhibition 10/1997. (710.1) Sheet glued onto large cardboard sheet with Velcro dots on rear. Photos: 710i1 - scan from actual negative 710.2 - items from SLV on rear of 710.1 710.3 - A4 photocopies 710.4 - Large item glued to sheet.trams, tramways, ballarat, tram drivers, hijacks, mt pleasant

Book, 80 pages, gloss art paper, in black ink with a yellow card cover in green ink, centre stapled, titled "The Bendigo Tramways" Details history of Bendigo tramways, its tramcars and the involvement of the various operators. Has maps and photographs. Written by Keith Kings and published by the Victorian Division of the Australian Railway Historical Society and others at the time of the closure of the Bendigo system. Has details of the various organisations that published the book on the rear cover. Cover, index page, maps and rollingstock lists have been scanned see jpg images i1 to i7 For book itself see pdf images i1 to i4 326.1 - ditto - purchased by W.A. Doubleday for BTM ex Scottsbluff, NE, USA 8/2003. Added 27/09/03. See Reg Item 4242 for other copies of this book which has pencil annotations.trams, tramways, bendigo, battery trams, steam trams, history

This file contains six items: 1/Handwritten information from 1874 Sands & McDougalls sent to Mr. P Murray in 26/05/1977 from Miss IV Anderson/ 2/Typed pages from Sands & McDougalls, 1911, 1913, 1942 editions dairy entries. 3/Four separate receipts, one photocopied of local dairies, various dates. 4/Two black-and-white photographs of Archibald Short, proprietor of Shorts Dairy in Carlingford Street, and resided in College Street, Elsternwick. 5/Printed document taken from Purchase Agreement between Clara Benzley and Thomas Jenner, on the purchase of a dairy at 43 Woornack Road. Carnegie 13/08/1926. Gives the items included in contract of sale, including 2 horses. 6/Caulfield Glen Eira Leader newspaper article dated is May, 2014, showing upcoming sale of 43 Woornack Road, Carnegie. The property was Clara Benzley’s (granddaughter Claire Barton) dairy in 1926.burlington model dairy, glen huntly road, caulfield, hall mr., carinya dairy, orrong crescent, bradin, rice l. i., dairyman, green r., queens ave., carnegie, neerim road, parton’s dairy, hawthorn road, short archibald, carlingford street, south caulfield, college street, elsternwick, milk cart, dairying, dairies, land sales, real estate, architectural, woornack road, auctions

This photograph was taken on 6 April 1938 when the "Empress of Britain" and the German ocean liner Reliance visited Station Pier. (From Glen Stuart) Three funnel ship Reliance, 19980 gross tons, Hamburg America Line (ona cruise) at inner East Station Pier. Ship seen on right at outer West Station Pier, Empress of Britain, 42,348 gross tons. [This photo as well as 3354.01 - .05 and 3362 came to PMHPS from the Moe Historical Society via the St Kilda Historical Society. Notations in pencil on the back along the left had edge indicate they came from "C W Ward photo, 355 High St, Prahran, Melbourne". Each photo bears the date 9-12-1947 in the top left corner. It is not known what this date refers to. Possibly it is when the photo was printed. Another notation on each photo says "Port Melbourne, taken in 1920". This is definitely incorrect and "NOT" has been written underneath this comment.]Black and white photograph of German passenger liner "Reliance" and crowds at Station Pier from Centenary Bridge.C.W.Ward photo 335 High Street, Prahran, Melbournehamburg america line, reliance, transport - shipping, piers and wharves - station pier, empress of britain

Ruth was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. the artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Ruth is in a seated position with a loosely draped dress.Ruthruth

Modesty was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. The artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Modesty standing with right arm folded over chest, robed and with veil over face.Modestymodesty

Susannah designed and carved by Charles Francis Summers and accompanies four statues in the Statuary Pavilion in the Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database.The artwork is of historic and aesthetic significance to the people of Ballarat White marble statue, female seated with cloth draped over lower body.Susannahsusannah, summers

This pennant was donated to the Mission by June Muirhead (nee Richardson) who visited the Mission on two occasions: on the 13 November 2014 and then in 2016. She lived from age 3 to 8, with her parents, Cuthbert (Bert) Richardson and Jane (Jenny) Richardson, and her sister, Edna, in the Cottage at 717 Flinders Street. Her father, was the caretaker of the Flinders Street building between 1943-1949. . In 1943 her father was hired to work at the Mission as a caretaker. The family moved from Wonthaggi. When she lived in the Mission, she would sometimes sneak into the club to look at books and pictures. Some seafarers would give her badges, tokens. One of them gave her this felt pennant. In 1949, the family moved back to Wonthaggi and June started year 5 over there.A number of souvenir gifts and small boxes were apparently available through the Mission To Seamen in the 1940s. This acquisition adds to the small collection of items from the period which could be used to form the core of an informative exhibition. Similar flags were made in other countries depicting an animal (kiwi bird in New Zealand, springbox in South Africa) and other Australian towns.A triangular felted, dark blue pennant with printed cursive inscription and motifs including: the Mission to Seamen Flying Angel flag, an outline of Australia; a Koala wearing a captain's hat; an insignia emblem for the Merchant Navy. A looped cotton binding along left edge of the triangle to thread the flag on a stick or cord support. The printed inscription reads: Greetings from Australia.pennant, flags, koala, flying angel club, merchant navy, d. june muirhead, marketing, caretaker, cottage, bert richardson, june muirhead nee richardson, edna richardson, ww2

These 3 plaques were originally placed on 3 doors within the Soldiers Memorial Institute building in Pall Mall Bendigo in recognition of the years of service as volunteers to the Bendigo RSL Sub Branch & Bendigo District RSL Sub Branch in 2011. Over time the small plaques were added regarding their ongoing volunteer years and passing. During the renovations to the Soldiers Memorial Institute & Museum which closed in 2016 all plaques were taken down that were in the building. These 3 were not put back in the original positions. .1) John Kerr Barnes OAM, refer Cat No 8040 for his volunteer service. .2) John Edward Fay, refer Cat No 8129P for his volunteer service. .3) William James Norman Smart, refer Cat No 8131.2P for his volunteer service..1) Plaque, metal, front face gold colour, all text and edging in black, one small gold plaque placed on the bottom RH corner. .2) Plaque, metal, front face gold colour, all text and edging in black, 3 small gold colour plaques have been added. .3) Plaque, metal, front face gold colour, all text and edging in black, 2 small gold colour plaques have been added.brsl, smirsl, plaque, recognition, volunteer

William (Billie) Blackmore was born at or near Richmond, Victoria.At age 26 he joined the A.I.F. in WW1 while he was employed at Orbost as a labourer. He served in Egypt and France until following his discharge on December 20th 1916, he transferred to 15th Machine Coy in January 1917. He was severely wounded, repatriated to England until after an operation and further hospitalisation returned home to Orbost .In Orbost he did farm work for George and Elizabeth Trewin, eventually building a small shack on what was Rupert Leatham's property at Brodribb. He fossicked for gold in a nearby creek and the story goes that he buried his coins around the property. He donated these scales to the Orbost & Districet Historical Society. (more details and ref. John Phillips July 2016 Newsletter)This item is typical of those used by gold fossickers in the early 20th century. This object was likely to have been imported into Australia (possibly German) for use in Victoria,Small round hanging scales. At the top is a loop for hanging. There is a brass plate in the centre with measuring scale, in lbs, and needle pointer.scales instruments-weighing

The Ladies C Grade championship starting in 1991. Winners were: 1991 P Bradshaw, 1992 D Smith, 1993 D Irvine, 1994 N Wills, 1995 D Delaney, 1996 E Spies, 1997 K Bul, 1998 M Smith, 1999 J Bogner, 2000 A. Deppeler, 2001 M O'Connor, 2002 M Bacon, 2003 Jenny Stevens, 2004 M Smith, 2005 Jenny Cunnington, 2006 L Norton, 2007 J Nesseler, 2008 M Price, 2009 J Irwin, 2010 H Finlayson, 2011 H Finlayson, 2012 K Matheson, 2013 K Matheson, 2014 K Morrison, 2015 L Norton, 2016 L Norton, 2017 L Norton, 2018 A Thompson, 2019 F Groves.Significant as it provides a record of C grade winners over the years. Also provides a snapshot of playersSmall silver cup on a pedestalInscribed with the competition title and the names and year of the winnerspeterborough golf club, peterborough, women's golf, women's golf championships

This bridge was built in 1902, replacing a previous structure that crossed the Moyne River from 1857 and linked Belfast with Belfast East, as the two areas of Port Fairy were then known. Prior to that, passage over the river was via a ford (an underwater stone track that allowed wagons to cross when the river was low) located just north of where the current car bridge stands. The present bridge survived the great flood of 1946, but has been the subject of innumerable patch-up jobs over its 114 years. In 2012, the bridge underwent a detailed structural assessment and was given the OK for the next eight to 10 years, notwithstanding the need for regular maintenance works. At the time, it was estimated a new bridge would cost between $2-3 million. It was extensively refurbished in 2016Sole means for traffic to cross to the east side of Port FairyBlack and white photographMoyne River Port Fairyriver, moyne, bridge, road