A postcard with an oval photograph of Howtown Bay, Ullswater (Lake District, England) sent to the W.R. Rylah, a solicitor who lived at 31 (now 68) Charles Street in 1911. The postcard and item 2017.0079 were discovered during renovations to the house. Front: "B.B. London Series No. E70 ***" / Reverse: "Wishing you all a bright and happy Xmas + New Year, from all at "Doon", Xmas 1911." Postcard addressed to: "W.R. Rylah, Glen Mavis, [31] Charles Street, Kew".ullsworth, howtown bay, postcards, weir collection, 68 charles street - kew (vic.)

The Nankeen Kestrel, a small type of falcon, can be found all over Australia, usually in grassland or farmland areas. This falcon is carnivorous and hunts all manner of small prey including mice, lizards, insects, and other birds. When hunting, Nankeen Kestrels can be seen hovering in the air searching for prey. Nankeen Kestrels are generally monogamous, staying with the same breeding partner for multiple seasons. The Nankeen Kestrel is known for its reddish-brown feathers, spotted with a distinctive black pattern on its back, and have black-tipped wings and tail band, a stark contrast to its white chest. Females tend to be larger, and males will have a grey head and neck area. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Nankeen Kestrel is relatively small and slender. It is mostly reddish-brown, streaked with darker coloured areas. The tips of the wings and tail feathers are tipped in black. The chest is white with streaks of reddish-brown. The areas around its eyes, beak, and feet are a bright yellow. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 19. / Unnamed / Catalogue page, 5 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, nankeen kestrel, falcon

Students attended Sunday School classes at the Kergunyah Presbyterian Church. Sunday school was held in a little 16 foot square wooden building which came from Rocky Valley after it was no longer needed there. Ewen Wallace's father initiated and organised the move. C2011 the building was knocked down because of white ants. The Presbyterian Church will be 125 years old in 2015.Historical: Religious Education: This book was used by students who attended the Sunday School classes at the Kergunyah Presbyterian Church. Religion: Presbyterian Church at Kergunyah, in the Kiewa Valley, celebrates its 125th anniversary in 2015 after being handed over to the uniting Church in the 1970s.Bright shiny aqua small book with vertical black thin line 3 quarters of the way along from the spine. This black line goes through the middle of a picture of a book which is drawn in black with a rectangular of white around it. Title is in white and cursive script. Title is written in bold white print along spine. Back of book has ISBN number in blackPencil inside on cover page "170" "3/MA" Pencil inside on back cover page 15 names listed and $2.40 Warwick, Ken, Debbie, Cameron, Thomas, Anna, Ricki, Glen Simpson, Brett, Mathew, Lorinda, Tracey, Luke, John, Meganreligion, prayers, ewen wallace, kergunyah, presbyterian church, religious education, sunday school

The 1914–15 Star was authorised in 1918 and was awarded for service in specified theatres of war between 5 August 1914 and 31 December 1915. A recipient of the 1914 Star could not also be awarded the 1914–15 Star. Albert was born 29 June 1897 at his home 'Ashford Vale" farm, Cuthbert's Road, Cardigan. Albert, a second generation Australian, was the fourth son and sixth of eleven children born to dairy farmer John White and his wife Elizabeth, nee Douglas. Albert attended Bunker's Hill State School prior to enrolling at Ballarat College. After College he obtained employment with the engineering firm Ronaldson and Tippett in Ballarat. Following his eighteenth birthday Albert enlisted in the AIF in Ballarat with the rank of Private, No 2012. He embarked for the Middle East with 23rd Battalion on 26 August 1915 and was 'taken on strength at the Gallipoli Peninsular 25 October 1915". On 10 January 1916 Albert was posted to Alexandria, Egypt and during this time he was able to meet with his aunt Rose Douglas, an Australian Army Nursing Sister. This was a great comfort to his family. Albert was sent to France 19 March 1916 and transferred to the 22nd Battalion. He was mentioned in dispatches for 'good and gallant conduct' 5 August (1917?). Albert was hospitalised 30 March 1918, rejoined 22nd Battalion 3 June 1918, wounded in action 3 October 1918 but died of wounds at Rouen 10 October 1918. news of his death was received by his family in Australia just prior to the armistice. Albert Telfer White's sacrifice is commemorated at Ballarat College, Avenue of Honour Ballarat (Tree 1214), Ballarat Shire Honour Avenue Learmonth (Tree 163) and the Australian War Memorial Canberra. (These notes provided by family November 2016)Part of a greater A T White CollectionThe 1914-15 Star is a four pointed star of bright bronze, ensigned with a crown. The obverse has crossed gladius, overlaid with an oak wreath that is ensigned with the cypher of King George V. A scroll bearing the legend 1914-15 is centrally placed across the crossed blades. The 1914-15 Star ribbon has the red white and blue colours of the Empire, in shaded and watered stripes.Engraved on a scroll in the centre of the medal front: '1914-15' The oak wreath is ensigned with the cypher of King George V. The back of the medal is engraved: 2012 / Pte A T White / 23/BN. A.I.F. albert-telfer-white, medal, world war one, 1914-15 star

WW1 identification tags, 3 standard issue tags and 1 trench art tag made of bright tin attached to a beige coloured shoelace. These ID tags belonged to Private A.E. Wilson, service number 12435, 10th Field Ambulance, AMC, AIF., Church of England. Embarked from Melbourne on 6th June, 1916. see also 00019 and 00019.2ww1, field, identification, tag, a e wilson, 10th, ambulance

MEDIUM: Oil on paper. DESCRIPTION: Blue, white and brown oil painting on paper, mounted on white board under glass, white outer frame. An abstract close up, bones are lined up vertically along the full length of the canvas against a bright blue background and a centrally placed horizontal earthy toned background, the bones almost appear attached, as to a cowboys belt. Initialed and dated on image, proper left bottom corner.them, oil, bathgate, bones

Photograph - black and white. Two lots of writing, first one 'Bright day, Fernery, Gardens, Eaglehawk, Easter 97' (1897). 2nd lot of writing - 'To right of main gate behind present toilet block - remains of fountain shifted to new position - E'hawk Fernery'. In the photo are two young girls, a woman sitting behind them, a man and a woman standing in the background.place, eaglehawk, eaglehawk fernery, photograph. eaglehawk fernery. 2 young girls.

Decorated commemorative card City of Sandhurst Return Ball to his Worship the Mayor and Mrs Aspinall at the Town Hall 14 July 1874. Signed at the bottom by the Chairman John McIntyre? And the Hon. Secty. Has bright blue City of Sandhurst seal with gold painted around the edges. There is scroll work and pink, red, yellow, blue and purple flowers (hand painted?) as decoration.artwork, print, artwork, commemorative card for return ball, city of sandhurst, mayor and mrs aspinall, john mcintyre

Piano Recital Marta Zalan, City Hall, Bendigo. Presented by the Music Advancement Society of Bendigo, First Concert 1964 series. Wednesday, 8th April, 1964 at 8.15 pm. President: J Bright, Hon. Secs. Madge Edgar, Elsie Flanagan. Programme One Shilling. Programme listing. Advertisements: Edgars', Bendigo. Allan's, Bendigo. F J Every, Bendigo.Boltons Print., Bendigo.program, music, music advancement society bendigo, piano recital marta zalan, city hall. music advancement society of bendigo, first concert 1964 series. 8 april, 1964. president: j bright, hon. secs. madge edgar, elsie flanagan. programme listing. advertisements: edgars', bendigo. allan's, bendigo. f j every, bendigo.

Black and White illustration contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Illustration of Geelong No. 4 as the first official tram in Moorabool St, highly decorated. Has the caption - "Geelong's first electric tram, the gala opening of the service 14th March 1912." No details as to origin. Has the Bright and Hitchcocks building in the background.trams, tramways, geelong, opening, moorabool st, tram 4

The Ventnor School had its beginning in the Ventnor Hall, which was built by parents of the children. It was opened on 5th May 1915 and Miss Ruby Bright was the first Head Teacher. Later an area was purchased from Mr Thomas Jones and a new school was erected at a cost of £790.2.6. The school was occupied on 6th September 1923 and was un staffed in 1964.Photograph of old Ventnor State School No. 3895 and Shelter Shed. Man with dog in foreground.local history, photographs, buildings - historical, schools, coloured photograph, john cook, phillip island, ventnor state school

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Only 15% of original electroplating remains with bright vertigris on 5% of spoon surface.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

Bogong Primary School opened in 1941 to provide an education for the employees of the State Electricity Commission of Victoria. The school had up to date equipment and received glowing reports from school inspectors. It closed c1986.The Bogong State School was opened for the children of S.E.C.V. workers who lived in Bogong in a remote part of north east Victoria. The nearest school would have been 14 miles away and over mountain roads subject to heavy construction traffic and extremes of climatic conditions.6 bright orange 'bibs' from Bogong Primary School. Used to identify a team in eg. sport. Each bib has 2 coloured squares which are hemmed and joined to each other with 2 elastic pieces on the outside at the top (to fit over the head) and on each square joining the 2 squares, 2 white bias binding pieces on the outside at the bottom (for the arms to go through.)team bibs. bogong primary school. education. state school.

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

Silk embroidered postcard with purple, yellow & green flowers 7 wording Christmas Greetings & To My Deatest Darling. Back reads: ' To Dear May ? Wishing you a Merry Xmas and a bright and prosperous New Year. Your loving brother in law Forbes. Embroidery makes a pocket which holds a small card with an illustration of a lady arranging flowers. It has 'a happy Christmas' printed on it.communication, postal, postcards, malone collection, silk postcard

Bendigo Advertiser "The way we were" from Friday, July 23, 2004. Ready: members of the Golden Square Eventide Welfare Association, pictured in 1972. Back row: Jack Bright, Kevin Slater, Dick Beattie, Harley Brown, Arthur Lourie. Front: Jim Porter,Edna Ellis, Gordon Sayers, Dennis Oaks, Norm Pinch, Win Brown and George Ellis.newspaper, bendigo advertiser, the way we were

The Matyó region of Hungary, which includes Mezökövesd is known for its rich costume traditions, specifically embroidery. Matyó embroidery is a densely-patterned style of free-hand work in rich and colorful floral motifs. Its prime era was the 1860s and 1870s when the folk arts thrived. This example characterizes the dynamic color combinations and flower varieties of the Matyó tradition.The textile is part of a large and significant collection of items donated by Rosemary Vaughan-Smith, past member and office-bearer of the Kew Historical Society. between 2005-12. The collection includes costumes, scrapbooks, autograph books, artworks and objects.Rectangular apron worked in three panels, the lower two of which are backed. The waist tie is of a floral fabric. The tape is attached to both vertical sides. There is a black fringe attached to the bottom panel over floral printed fabric. The needlework techniques employed in the embroidery include flat stitch which is used to create the effect of quilting and creating large brightly coloured flowers in the middle section. mezökövesd, aprons - hungarian, matyo embroidery, migration

The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat.Transcript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

Norma Bull is an Australian painter who is most famous for her paintings and sketches made during World War II in Britain as an official war artist. Bull was a finalist in the Archibald prize twice, in 1952 and 1953. Her work is featured in collections around the world including the Royal Collection, the Imperial War Museum, the National Gallery of Australia, and the Bright Art Gallery.traditionalRural City of Wangaratta Collection. Donated by Associate Professor Leslie E Bolitho AM.A windy seascape painted in oil using blues, browns, greens, yellows, and whites.Obverse: Norma Bull/ (bottom left)wangaratta art gallery, norma bull, seascape, painting

Note from collector: I would stack plain blankets of the same base colour and arrange them by shade to make up a colour palette. It showed how particular colours were in fashion in the early decades, based mostly around depths of pastel pinks, mints, lemons and baby blues with brighter colours arriving in the 1960s then the browns and oranges in heavier tones in the 1970s. Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Queen Sized, dusty pink blanketGodfrey Hirst/Pure Wool Pelage Blanket/Mothproofed/Made in Australiawool, blanket, blanket fever, godfrey hirst, geelong

Collector says: "I would stack plain blankets of the same base colour and arrange them by shade to make up a colour palette. It showed how particular colours were in fashion in the early decades, based mostly around depths of pastel pinks, mints, lemons and baby blues with brighter colours arriving in the 1960s then the browns and oranges in heavier tones in the 1970s.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Queen sized blanket, soft pastel pinkWarranted 100% Pure Wool/The Famous "Doctor" Regd/Blanket Made in Tasmania/in Emblem "K&K" (first K mirror image)/Regdwool, blanket, blanket fever, the famous doctor, kelsall and kemp, tasmania

Postcard produced by the Valentine publishing company of Moorabool St Geelong looking south. Tram 17 is visible along with the part of another tram in the bottom left-hand corner. In the photo are Bright & Hitchcock, the T&G building, Gray & Murray, the Bank of NSW, Savoia Cafe, and Rockman's stores along with an advertisement for Berger paints. The rear of the card notes it is a genuine photograph.Yields information about the view of Moorabool St c1949Black and white Postcard undivided back, unused. On top right hand rear is "1949" in pencil.tramways, trams, geelong, moorabool st, tram 17

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. Launched at the Melbourne Zoo on 11 February 2003, ambassador Sigrid Thornton read 'The Story about Ping' by Margery Flack and Kurt Wiese to a group of five children, who played with the other objects in the suitcase as well as those for 'The Tiger who Came to Tea' by Judith Kerr. These included a soft toy duck in bright plaid fabric, a shiny metal tea pot, a cassette recording of the story, tactile books for both stories, and metal cups.37 digital photographs of Sigrid Thornton and five children at launch of Feelix libraryroyal victorian institute for the blind, feelix, sigrid thornton

The Feelix library was developed to help children who were blind or have low vision experience the connection with books via tactile objects. Each print book was hand selected, a clear Braille overlay placed on the pages, and items relating to the story were made or purchased and added to the kit. The kit (book and objects) was held inside a cardboard suitcase and sent through the mail in a bright orange, zippered plastic padded pouch with a carry strap. Launched at the Melbourne Zoo on 11 February 2003, ambassador Sigrid Thornton read 'The Story about Ping' by Margery Flack and Kurt Wiese to a group of five children, who played with the other objects in the suitcase as well as those for 'The Tiger who Came to Tea' by Judith Kerr. These included a soft toy duck in bright plaid fabric, a shiny metal tea pot, a cassette recording of the story, tactile books for both stories, and metal cups.36 digital photographs of Sigrid Thornton and five children at launch of Feelix libraryroyal victorian institute for the blind, feelix, sigrid thornton

Bendigo Advertiser '' The way we were'' from 2002. Belles of the ball: debutantes (from left) back row: Judith Bright, Elaine Goyne, Lorraine Roberts, Mrs Amer, Mrs Grainger, Esther Truthewey, Melva Petri and Ruth Mosman. Front row: Ann Goodman, Noreen Goodman, Caryl Hammill, Glenys Frainger, Dorothy Roberts, Jean Symes and Julie Nelson. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Twelve Federated Municipal and Shire Council Employees' Union of Australia cards. They give authority to deduct money from the weekly wage to cover payment of Union Dues. Various colours including bright yellow, white, tan and light tan. Some have printing on the back and some have a logo in the bottom left corner with a box with Union Label printed in it and a map of Australia with The Printers Trades printed in it.bendigo, council, cattle markets, bendigo saleyards collection - union dues cards, federated municipal and shire council employees' union of australia, concillation and arbitration act

Document. Flyer for New Vaudeville Co. Masonic Hall, Bendigo. Advertisers. Kalma - Photographer. Prince Cerio - Gypsy Palmist. Bright's - Fish Shop. Hamburger - Watchmaker. Ernest R.Jones and Co - Agents. B. Sluyterman - Electrical Engineer. Hartley Cycles. A. Frigerio - Wire Works. Davey Bros - Saddlers. Her Majestry's Hotel. C.Plumbe - Tailor. Barnett's - Money Lender. W.A.Parker - Hairdresser and Tobacconist. Metropolitan Hotel.performing arts, elocution, theatre flyer

Bound photocopy of Chapter 12, pages 100 - 113 - Internment Camp 3, Tatura from the Book 'Walls of Wire, Tatura Rushworth Murchison' by Joyce Hammond, published J Hammond. Printed 1990, Rodney Printers, Tatura. Has a pale yellow front cover and a bright green rear cover. The chapter 12 has photos and information about living conditions and families at the internment camp.Joyce Hammonddocument, memo, german heritage society, german heritage society collection - visit to tatura, german heritage society bendigo, walls of wire tatura rushworth murchison, joyce hammond, j hammond, rodney printers tatura

Used to hold docket books in an office environment.A stationary that is associated with a now-dissolved corporate body which existed in the 1980s.A dark green docket holder, made of plastic/synthetic material with cardboard as internal filling. The logo of The Met is printed on 3/5 sides, with the text "METROPOLITAN TRANSIT" printed below, all in bright yellow. One of the sides has a cut-out to facilitate inserting/removing paper. The fold-out bottom of the object is attached to the side of the cut-out and retracts upward for folding. Two copies held.the met, public transport, metropolitian transit authority