Arthur V Gregory b.1867, d.1957 worked from studio at 326 Albert Road South Melbourne established by his father G F Gregory in 1852 SS KATOOMBA of McIlwraith, McEacharn & Co entered the Australian trade in 1887 bringing immigrants from Britain to Queensland. They entered into the fierce competition for passenger trade in the first decades of the 20th century when competition for passengers required companies to provide more than converted cargo vessels. In 1909 their ship KAROOLA won a reputation for its salubrious accommodation and its size, and was the first Australian ship to exceed 7,000 tons. The company maintained the advantage in 1912 by commissioning KATOOMBA, which was larger and more luxurious than all its generation of passenger ships. KATOOMBA was requisitioned as a troopship in both World War I and World War II. It was sold to a Greek company in 1949 and sold for scrap in Japan in 1959.Water colour painting in painted gilt frameA.V Gregory 1929katoomba, a.v. gregory, water colour, painting

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This dress belonged to Alice Frances Henty (1852-1932) the youngest daughter of Francis Henty (1815-89) and his wife Mary Ann Henty [nee Lawrence] (1821-81). It is recorded that Alice wore the dress at the age of six. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Girl's two-tone, one-piece cotton voile dress from the 1850s has a high round neck and short sleeves has a lace insert on the front of the bodice and matching lace at the rear. The layered skirt is bordered with lace. Measurements (mm): Girth - Neck 609.6, Chest 635, Waist 558.8, Cuff 203.2, Hem circumference 2108.2. Vertical - Front neck to hem 685.8, Front waist to hem 508, Back neck to hem 723.9, Back waist to hem 534.4, Sleeve length 63.5. Horizontal - Neck to sleeve head 38.1, Cross back 304.8, Underarm to underarm 406.4.fashion -- 1850s, children's clothing, alice frances henty

This bridesmaid's dress was owned and first worn in 1875 by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This hand embroidered fire screen was embroidered by Winifred Caroline Henty Hindson (1887–1967), Elsie May Eliza Hindson (1880–1968) and Louisa (Louie) Charlotte Frances Hindson (1885–1963) three of the daughters of Alice Henty and John Hindson. Their grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century. Multicoloured silk embroidered floral composition on a black fabric background created by Louisa, Elsie and Winifred Hindson. The embroidery is held behind glass and is protected by blackened wood at the back. The screen is suspended in an ebonized and gilded frame with two rows of spindle decoration. fire screens, women's work, embroidery - 20th century, elsie hindson, louisa hindson, winifred hindson

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. The house is heavily screened by a mature garden with several large trees or shrubs.In red biro on rear: "No 11 York St / 1974" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. Taken from diagonally across the street, it shows the end of the house, the driveway and the dividing fence between the property and the adjacent house. The house is heavily screened by a mature garden with several large trees or shrubs.In red biro on rear: "No 11 York St / 1974" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitby. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert. Although the house is heavily screened by a mature garden with several large trees or shrubs, part of the front can be seen. It is Californian bungalow in style with typical features including a terracotta tiled roof, simple roof finials, simple chimneys, shingle detail to the gable and brick and rounded pillar supports to the veranda. The front fence is low and constructed from roughly dressed stone.In black texta colour and black biro on rear: "1962 / 11 YORK ST/ MONT ALBERT" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 11 York Street, Mont Albert. Taken from across the street, it shows only part of the gable of the house. The house is heavily screened by a mature garden with several large trees or shrubs. The fence is low and constructed from roughly faced stone.In blue biro on rear: "11 YORK ST / MONT ALBERT" and separately "May 74" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

This is the home of Ernest Lance Young and Beryl Mair and the childhood home of their children Barbara, Ken and Laurie. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitty. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. His address after marriage was 11 York Street, Mont Albert. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of 11 York Street, Mont Albert, looking down the driveway. Although the house is heavily screened by a mature garden with several large trees or shrubs, part of the front and one side can be seen. It is a weatherboard house with a terracotta tiled roof and Californian bungalow in style.In blue biro on rear: "11 YORK ST/ MONT ALBERT / 1962 APPROX" ken young, barbara young, laurie young, laurie newton, beryl mair, ernest lance young, lance young, york street, mont albert

Benjamin Bolton and his two eldest sons, William and Arthur, began a printing business known as Bolton & Sons on March 25, 1885. The location of the original printing business was in High Street, Bendigo but later moved to Williamson Street where the business underwent a name change to Bolton Bros and expanded into manufacturing paper bags and other stationery lines. In 1902, Bolton Bros moved to 43 Mitchell Street which housed the retail stationery department and the main office, while the printing factory was on the second and third floors. Next door at 47 Mitchell Street the wholesale division and machine service department operated. William and Arthur Bolton and their sons travelled throughout central and northern Victoria selling their own products and representing other companies. Bolton Bros continue to trade today with fifth generation family ownership continuing the tradition. (Fn https://www.boltonbros.com.au/about-us)Printed and handwritten paper invoice from Bolton Bros. to JH Abbott dated 14/1/20 for nibs.mayor bolton, mayor abbott, city of greater bendigo commerce, making a nation exhibition, bolton brothers printers, mayoress bolton

A 'BUCKEYE" grape and cider press, manufactured by P.P. Mast & Co. of Springfield, Ohio, USA and distributed by P. Rohs, Sandhurst (Bendigo). The PP Mast Company was established in 1854. Their Buckeye drills, seeders and other implements played an important role in the development of American farm machinery, being sold in every American state, Europe and Australia. This press was used by the Gaasch family of Harcourt over several generations from 1898 to crush grapes for wine and vinegar making, subsequently to crush apples and then press the pulp to make apple vinegar and cider. The crushing was accompanied by lusty singing of songs and hymns such as 'Ein Feste Burg ist unter Gott'. The press was designed to be hand-operated but was later used by Harcourt Coolstores to press apples. It was then belt-driven by an electric motor. The press was restored (timber cleaned and varnished, metal shoes on base of wooden uprights, which had rotted ) by Mr. Howard Carr, 2001-An early application of mechanics to the crushing of grapes. Hand-driven, geared drive metal crushing parts, with metal flywheel, wooden feed hopper in vertical arrangement, wooden frame, tray and vat, with metal pressing screw installed in heavy metal yoke at front. Metal crushing section carries cast-in maker's name and patent details'BUCKEYE" manufactured by P.P. Mast & Co. of Springfield, Ohio, USA distributed by P. Rohs, Sandhurst (Bendigo).

Flower shows or Horticultural exhibitions were a popular form of entertainment and scientific pastime in the nineteenth and twentieth centuries and were widely reported on and followed. Ballarat was a major centre for nurseries and prided itself as a garden city promoting many shows at all levels including grand national exhibitions. Exhibitors ranged from professional hybridists, nurserymen and florists to amateur growers. This award represents the cottage or amateur class in flower shows and was awarded at St Andrew's Jubilee Exhibition and Flower Show. It is one of many in the Taffe family collection won by members of the family between 1899 and 2004. The collection covers three generations of amateur growers and showers across three different centuries.This collection also highlights one of the interactions between members of different religious faith communities in Ballarat in the early twentieth century as this Roman Catholic family were exhibiting at Church of England and Presbyterian functions as well as other shows across the community. Class B, No 14. 57, Six varieties of pansies, Miss Taaffest andrew's, jubilee, jubilee exhibition and flower show, ballarat, pansies miss taaffe, taffe, baxter & stubbs., roman catholic, church of england, presbyterian, interfaith.

Nillumbik Commissioners used 'reserve power's to permit a controversial Shell service station and Hungry Jackls restaurant development at the former Eltham Shire Office site at 895 Main Road. More than 200 people attended the Council meeting in the public gallery and protested at the decision. 32 personal submissions were made to Council's Planning Special Committee meeting whose members vioted 3-2 against the development. The Committee consisted of the three Nillumbik Commissioners and three community members (Jim Connor, Bronwyn South and Janet Mattiske). Chief Commissioner Don Cordell, a former Shell employee excused himself from voting and the three communbity memebrs voted against the submission. The other two commissioners, Vin Heffernan and Kevin Abbott voted against it. They then immediately closed the meeting and opened a Council meeting lasting just seconds to use special reserve powers to overturn the decision. Community residents who made submissions included Russell Yeomans speaking on behalf of the Eltham Gateway Action Group and Eltham District Historical Society, Des Ryan on belaf of Eltham Senior Citizens, Angela Newhouse, others on behalf of Our Lady Help of Christians Primary School and Judge Book Village, Tom Munro, Ian Jennings, Margartet Ball a fifth generation descendant of the Shillinglaw family, one of the early settlers of the area and owner of the land that was sold to Council, Frank Burgoyne who said "there will be a lot of creaking and rumbling in the cemetery if this goes through. So many old people who have done so much for Eltham are buried up there and it is up to us to pass on what they left to the younger generation. Eltham is a beautiful spot; why louse it up?" A second article "Anger over reserve power" by Laeta Antonysen provides commentary from the three Planning Special Committee community members, former Eltham Shire Councillor Jim Connor, Bronwyn South and Janet Mattiske about the process that took place and the first time use of the spoecial reserve power to overturn the decision of the committee. Barry Rochford, Nillumbiuk CEO defends the use of the power.The demolition of the former Shire of Eltham offices and proposed sale and development driven by the Commissioners for Nillumbik Shire Council brought the community together in substantial protest at the infrigement of ratepayers democratic say in local government and ciommunity assets combined with protests about inappropraite development of Eltham's Gateway. This issue led to the formation of the Eltham Community Action Group which still operates strongly today (2023) on behalf of the community to ensure appropriate development within the community.895 main road, commissioners, dallas price homes, development application, eltham hub, hungry jacks, nillumbik shire council, re-zoning, shell service station, town planning, eltham gateway, eltham gateway action group, eltham shire offices, shillinglaw farm, shillinglaw trees, jim connor collection, dallas howgate, nillumbik planning special committee, jim connor, bronwyn south, janet mattiske, don cordell, vin heffernan, kevin abbott, russell yeomans, eltham district historical society, eltham senior citizens, des ryan, our lady help of christians primary school, judge book village, angela newhouse, tom munro, ian jennings, margaret ball, shillinglaw cottage, frank burgoyne, andrew biasci, barry rochford

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a red, blue, black and white textile sample, another is a hand drawn sketch of a house, the third shows hand written text on lined paper in black ink.Front: [handwritten] Final / design / for housequilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Two typed letters held together with a staple. The first letter has a grey printed letter head which includes a logo of a person with wings holding a heart.[printed] PATCHWORK QUILT TSUSHINquilt, wagga, home, house, housing affordability, design

Before her marriage to Ron Kirner, Joan Hood taught at the Ballarat Girls' Junior Technical School in the late 1950s. The Girls' school was a division of the Ballarat School of Mines. After entering politics Joan Kirner was Minister for Education (1988) and Premier of Victoria (1990 to 1992). In 1992 Premier of Victoria Joan Kirner visited her former workplace to officially open and name four new facilities, marking stage 2 of the school's State Works and Services Development Project. Honoured in the naming ceremony was the late Albert Steane, the late Kenneth Fleckoe and Mr Jack Barker, President of the Ballarat School of Mines. The fourth facility was the recently opened carpentry and joinery complex. Mrs Kirner said naming the building in honour of the three men would act as a continual reminder of their contribution to education in Australia and what they have passed on to future generations. She said the Government and the State Training Board saw the college as not only one that was most important to Victoria but also nationally and internationally. A group of 5 people walking along Ballarat's Lydiard Street South. The former Ballarat Brewery in the background is in the process of being demolished to make way for an expansion of the SMB campus. Left to right: Peter Shiells, E.J. (Jack) Barker, Winsome Barker, Premier of Victoria Joan Kirner, Frank Sheehan MLA (Labor State Member for Ballarat South). joan kirner, joan hood, ballarat junior technical girls' school, e.j. barker, peter shiells, frank sheehan

At the time of sale, the last of the Hirst family to work in the mill located in Geelong gave Donald (donor Bruce's father) Doherty a set of scales that had been used by several generations of Hirsts and adapted by them over time for specific use in their mill. These Scales were saved from waste and being thrown away at the time of sale to remain in use in the industry in the hands of someone who knew how to use them. The scales were used in calculating the weight of cloth and simultaneously calculating the amount of yarn required to weave it following the instructions printed within the box. The box bears the signatures of two Hirst family members, one being Lewis Hirst dated at 1898. The original brass pole has been replaced with a replica metal somewhere throughout the years after the brass pole broke through use. Hirst was brought by McKendrick in the 1960s and these scales sat for 12 months as part of the 12 month "cooling off" period. The scales were then handed to Donald rather than being disposed of.Scales used for weighing and calculating weight and thread count of textile samples. Originated from Godfrey Hirst Mills in Geelong. Writing describes how to utilise scales. Scales are made from brass, pole for holding scales once brass now replaced with metal pole. Scales held inside wooden box with black text in ink depicting use of scales on paper located inside and outside of box.Outside of box. Wording: APPARTUS for TESTING the WEIGHT per YARD of CLOTHS & COUNT of YARN from a small SAMPLE. -------------------------------------------------------------------------------------------------------------------------------------------------- Indispensable to Manufactures, Merchants & handling Woollen, Worsted, Cotton, Linen, Jute, Hemp, Flannel, Felt, Army, Navy, Police, Railway, Sail & other Cloths -------------------------------------------------------------------------------------------------------------------------------------------------- USED IN GOVERNMENT DEPARTMENTS -------------------------------------------------------------------------------------------------------------------------------------------------- The apparatus consists of Scales, Weights, 1, 2 & 4 sq. inch Cutting Templates & Book of Tables --------------------------------------------------------------------------------------------------------------------------------------------------By weighing a small Sample the accurate Weight in Ounces of a yard of Cloth any width from 18 to 64 inches, the Weight per Square Metre in Grams, the Counts* of Warp and Weft, and the approximate length of full & short ends of pieces of fabrics, [without unrolling and measuring for stocktaking & other purposes] can be ascertained without any Calculation --------------------------------------------------------------------------------------------------------------------------------------------------Price in United Kingdom, 25s., Carriage Paid. Price to Canada & U.S.A. $6.75 do. H. Lord. 10, And Place, Bradford, England. --------------------------------------------------------------------------------------------------------------------------------------------------*When ordering, state on what system you base your YARN COUNTS. Inside of box. Wording: DIRECTIONS FOR USE --------------------------------------------------------------------------------------------------------------------------------------------------TESTING WEIGHT OF CLOTHS. Place sample to be tested on a piece of cardboard, put a Cutting Template on it, cut card and cloth round template with scissors and weigh it according to instructions given in Book of Tables. TESTING FOR YARN COUNTS. Cut out 1 square inch of cloth, draw out wrap or weft threads, according to which is being tested, and the number of inches so drawn, that balance respective weight is the approximate Count. The same rule holds good when number of inches are drawn from a bobbin. In testing from the cloth, allowance has to be made for loss or gain in the process of manufacture. Weight marked C is for Cotton Counts " " W " " Worsted " " " WS " " Woollen Skeins " " L " " Linen Counts. The weights for testing samples of cloth are 20, 10, 10, 5, 3, 2, 1, grains in brass & '5, '3, '2, '1 [tenths of a grain] in aluminium. Inside of box. Signtures, handwritten: Bottom right: Lewis Hirst !898 Top Left (Smudge ?) W Hirst !935godfrey hirst, hirst family, textile design, textile creation

This afternoon dress was owned and first worn in 1875 by Alice (Henty) Hindson, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn in the same year as Alice's marriage to John Hindson at Trinity Church, East Melbourne, and may have formed part of her trousseau. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's afternoon dress is a two-piece, two-toned pink ensemble made of silk taffeta. The detailing is done with fine knife-pleated trims piped in ivory satin and decorated with ivory silk moiré bows on the bodice and skirt. The panelled peplum jacket is boned and the front button closure has hand-embroidered buttonholes with handmade covered buttons. The gathered full buttoned skirt falls into a train. The skirt is decorated with rows of ivory tulle corded lace and the hemline is edged with crisp fluted organza and tatted lace. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 863.6, Waist 685.8, Hip 787.4, Cuff 304.8, Hem circumference 1422.4. Vertical - From neck to hem 546.1, Front waist to hem 241.3, Back neck to hem 609.6, Back waist to hem 355.6, Sleeve length 330.2. Horizontal - Neck to sleeve head 60, Underarm to underarm 419.1. SKIRT Girth - Waist 558.8, Hip 1473.2, Hem circumference 3911.6. Vertical - Front waist to hem 1092.2, Back waist to hem 1524. fashion -- 1870s, afternoon dresses, alice (henty) hindson, women's clothing

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty

This full length lobster tail bustle was owned and worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. Bustles of this form date from the mid-1860s however this example probably dates from the mid 1870s, and perhaps from before her marriage to John Hindson in 1876. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An exceptionally rare and fine, floor length, 'lobster tail' bustle that belonged to Alice Henty possibly worn with her two-piece pink silk gown but also with other dresses that she owned that required a bustle of this shape. The structure of the bustle includes an outer layer of polished cotton with inserted steel hoops and ties at the front. The lower four hoops have flounces of the same fabric. Overall, the bustle contains 12 hoops, crossed nearer the waist and semi-circular for the remainder of the undergarment. [One of the tapes of the bustle is imprinted with the word lockstitch. Elias Howe invented the lockstitch sewing machine in 1846.] Measurements (mm): BUSTLE: Girth - Waist 660 Vertical - Front waist to hem 914, Back waist to hem 965.fashion -- 1870s, alice frances (henty) hindson, women's clothing, bustles, underwear

William Webster married Annie Martha Chisholm in 1891. He was born in Kapunda, S A in 1858; was a teacher and died in Bright in 1941. She was born in Ararat in 1860 and died in Surrey Hills in 1926. Their 4 sons were: 1. Rupert Chisholm (b1892; d 1953; m Ethel Cross in 1916) - occupation: public servant (became assistant taxation commissioner) 2. Clarence William Willoughby (b 1895; d 1980; m Jessie Mona Stuart Grant in 1924) - occupation: solicitor. 3. Basil Thomas Ross (b 1900; d 1983; m Isabella Rodger in 1934) - occupation: clerk / salesman 4. Ian Bruce (b 1904; d 1983; m Doery Annie Breen in 1935) - occupation: dentist. The family lived in View Street, Mont Albert. Clarence served in WW1 (SERN 36844) The family had strong associations over successive generations with Surrey Hills and the Methodist Church. Mona Webster wrote the history of the Mont Albert shopping centre.A black and white photograph of a family group of a man and a woman and four young boys.william webster (mr), annie webster (mrs), annie chisholm (miss), rupert webster (mr), ruper chisholm webster (mr), ross webster (mr), basil thomas ross webster (mr), clarence webster (mr), clarence william willoghby webster (mr), bruce webster (mr), ian bruce webster (mr), mona grant (miss), jessie mona stuart grant (miss), mona webster (mrs), jessie mona stuart grant (mrs), clothing and dress

Gloria PETYARRE (c.1942 - 2021) Born: Mosquito Bore, Utopia, Northern Territory Language Group: Anmatyerre Community: Utopia, Northern Territory Gloria Petyarre's depiction of the Kurrajong bush medicine leaves with her layered, swirling brushstrokes is her iconic motif. In 1999 Gloria Petyarre became the first Indigenous Australian artist to win the 'Wynne Prize for Landscape' at the New South Wales Gallery. She is credited with being the creator of this popular style, which was adopted and adapted by several generations of her family members over Gloria's retirement in 2019. The artistic tradition in Utopia started in the Utopia Women's Silk Batik Group introduced in 1977. Gloria Petyarre and her aunt Emily Karne Kngwarrye were found members of this group. Gloria Petyarre started painting on canvas in 1988 with her brushstrokes and layered paint having foundations in the batik tradition. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Utopian Art Movement‘Bush Medicine Dreaming’ depicts the leaves of a special plant that is used to aid in the healing process. The leaves are collected and then boiled to extract the resin. Following this, the resin is mixed with kangaroo fat collected from the kangaroo’s stomach. This creates a paste that can be stored for up to six months in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and as an insect repellent. The Dreaming that is the basis for Petyarre’s paintings comes from the important ceremonies and traditions held by the people of Atnwengerrp. art, artwork, gloria petyarre, aboriginal, utopia

J. Mann and Sons was first established as a farm produce store in 1921. The range of products was extended in the 1930s and included groceries and hardware, as well as the first petrol bowser in Wodonga outside the store. After WWII, the premises were extended and the range of products continued to increase. In the 1960s the Mann Family opened a new supermarket in Wodonga, in addition to the hardware business, providing steel, plumbing and industrial supplies, and they employed over 100 people at one stage. With changes in the retail industry, the Mann Family sold the main hardware business to Bunnings and the produce business to the Kelly brothers in 2006. Bell Punch A/sia Ltd was a subsidiary of The Bell Punch Company, itself a part of (Cash) Control Systems. The Bell Punch Company was a British company manufacturing a variety of business machines, including several generations of public transport ticket machines and the world's first desktop electronic calculator The company was founded on 5 July 1878. By 1961 it employed a workforce of 2000 people. The circular mark on the back of the machine was adopted in the 1950s.On Back of machine: Supplied by BELL PUNCH LTD. A/SIA BPC CASH CONTOL SYSTEMS 160 CASTLEREAGH ST. SYDNEY, MA9337 427 LITTLE COLLINS ST. MELBOURNE. CENT. 2038 AGENTS AND SERVICE IN ALL STATES ADDING MACHINES TICKET REGISTERS CHANGE MACHINES TICKET PRINTERS GUM TAPE SEALING MACHINES, ETC.j. mann & sons, vintage adding machines, bell punch australasia

non-fictionThis booklet is one of several publications from the State Electricity Commission during the period it was responsible for the running of the Kiewa Hydro Electric Scheme. It promotes tourism and depicts key features of the region in the 1980s.victoria. kiewa valley, kiewa river valley (vic.) -- description and travel., kiewa hydro

This local flower show award from 1905 together with others in the collection demonstrates the significance of such shows as a form of social activity as well as horticultural science over the decades. It is also an example of church groups being involved in the social fabric of the community and activities that embraced all segments of the community of different religious persuasions as the certificate was awarded to Michael Taffe, a Roman Catholic in a Church of England enclave. The Girls' Friendly Society founded in England in 1875 was an Anglican Church group which formed to give maids and female domestic staff spiritual guidance and social activities for their days off. The first local Australian branch was formed in Adelaide in 1879 with branches being established in Ballarat from the 1880s. Other certificates from 1899 to the 1930s in this collection of Taffe awards come from a range of faiths and community groups. This award is one of a family collection from the nineteenth century through to the twenty-first century further demonstrating horticultural enthusiasts exhibition participation across generations.This certificate evidences one of the activities of the Girls Friendly Society St Paul's Branch in a community event that embraced the local community. The Girls Friendly Society commenced in Ballarat in the 1880s and this certificate evidences one way in which the movement not only raised funds but actively involved itself in the local community regardless of creed.Inscribed 'Stock Double Mr M J Taffe'.girls friendly society, st paul's, flower show, 1905,, ballarat

University of Ballarat is a predecessor institution of Federation University AustraliaPredominantly white and gold soft covered book outlining Research at the University of Ballarat. It includes information on: * Institute for Regional and Rural Research and Innovation * Centre for Regional Innovation and Competitiveness * Teaching to Global Citizenship * Older BLokes and Their Sheds: Community based Men's Sheds in Australia * Education and Re-education in Child Sexual Abuse * Water Demand Management and Climate Change * An Indigenous History of Stonington * Key Drivers of Change in Adult and Community Education * Benchmaking Research * Training for Child Protection * Grabbing a Lifeline to Better Health * Enhancing Nurse Preparation for health care practice * ACT for depression in adolescence * FRom Pokies to Peremptory PErsonal Pleasures * Worksafe Awards * Mineral Sands that are not sinking * Rising Generation Inspired by Trace Elements * Environmental Research from Namibia to Ballarat * Evaluation of VicHealth Sport & Physical Activity Programs * A good Hard Look at Sports Grounds * Preventing Knee Injuries inn Community Australian Football * WIDCORP Beyond the Pipelines *Woodside Energy Ltd Optimizes its Production * Australian Defence Force Seeks Best Fit * Mapping Augmentation Structures Images include: David Battersby, Wayne Robinson, Joel Epstein, Georgina Tsolidis, Barry Golding, Caroline Taylor, Julian Lowe, Laura Kostanski, Ian D. Clark, Jessie Harman, Patrick White, Angela Murphy, Katrina Brown, John McDonald, Robert Watson, Sally Wellard, Louise Hayes, Stephen Cowley, Susan Leggett, Steve Hall, Stafford McKnight, Larissa Koroznikova, Patrick Graz, David Stratton, Andrew Stranieri, John Yearwood widcorp, water in drylands collaborative research project, eugene kneebone