South New Chum Syncline South New Chum Syncline Gold Mines, N.L., has been floated with a capital of £27,500 in 55,000 shares of 10/ each. Forty thousand have been issued at 1/,10,000 fully paid shares go to vendors, and 5000 will be held in reserve. - Messrs. Savage and Nicholas report that the issue was heavily over-subscribed. The property is situated in the central portion of the Bendigo field, adjoining such former producers as the Victoria Quartz. Lansell’s Big 180, North Old Chum and New Chum. (Bendigo Advertiser, 29th September 1932).Two documents from Department of Mines, 25th January, 1936. 'Cover letter, addressed to McColl, Rankin and Stanistreet, Commonwealth Bank Chambers, Charing Cross, Bendigo, informs 'that the Honorable the Minister has granted a suspension of the Labour Covenant of Lease No. 9903 Bendigo ...expiring on 25th April, 1936. Suspension is for the Mining District of Bendigo, division Sandhurst, No. of lease 9903 for 3 months from 24.1.36 to 25.4.36. Document is part of the Margaret Roberts Collection of mining records. bendigo, gold mining, south new chum syncline gold mine, j.j. stanistreet, legal manager, margaret roberts collection, labour convenant

Uncompleted form for a legal agreement between the Committee of Management of the St Kilda Oriental Carnival, 1929 and a showman participating in the carnival over the period 30 March to 6 April 1929.Single sheet of yellow paper printed in black on one sidest kilda carnivals, st kilda oriental carnival

Uncompleted form for legal agreement between the Committee of Management of the St Kilda Mardi Gras Carnival, 1928 and any showman participating in the carnival over the period 25 February to 3 March 1928.Single sheet of yellow paper printed in black on both sides.st kilda carnivals, st kilda mardis gras carnival

Legal documented minutes of the Nunawading/Whitehorse Historical SocietyCommittee minutes of Historical SocietyThis is the index for all entries of minutes of Committee meetings for Nunawading Historical Society. Laid out as 'Record' 'Date' ND8445 --> 2003 ND8446 --> 2004 BD8447 --> 2005 ND8448 --> 2006 ND8448 --> 2007 ND8449 --> 2008 ND8450 --> 2009 ND8451 --> 2010 ND8452 --> 2011 ND8453 --> 2012 committee actions and decisions, minutes, index

Referring to the legal history and transfer of land for the Junior Legacy Club Balnarring camp from Legatee Savige. Melbourne Legacy provided camps for junior legatees - the children of deceased servicemen. It started with outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring. Permanent camp buildings were built in 1930. Lord Somers (Governor of Victoria) also ran a camp in the area and the area became known as Somers. These documents record the transfer of the land to Legacy. The camps gave the children an opportunity of a summer beach holiday with other Legacy children.An important record of the history of the land owned by Stan Savige that was used for Legacy Camp, it adds to the other material available about Legacy Camp at Somers.White foolscap paper with black typed x 5 pages. Single sided. Black type with red corrections and some grey lead remarks. Addressed to ‘The chairman,/ Junior Legacy Club,/ 55 Market Street,/ Melbourne. C.1. From ‘Yrs Faithfully/ sgd/ J.H. Armstrong and W. A. Tregent. See also collection item 00253. somers camp, properties, land transfer

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Hand-cut sections of cryptomeria wood make a simple but dignified box for dried noodles. The shop in Akita City that sells this product was founded in 1665. The label, with its numerous seal impressions, has the look of an old-time legal document, and this is fitting, for it is actually the shop's pedigree. It records, among other things, the name of the founder and the fact that the shop, originally located in Inaba, once sold its noodles to the feudal lord of the region by special appointment. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

448 pages : illustrations (black and white) ; 25 cm.Genealogists and local historians have probably seen every birth, marriage, death and census record available, and are adept at unsing the internet for research. However, once they have learnt everything they can from them, the next step is reading and understanding older documents. These can be hard to find (not many are online), are often written in challenging handwriting and use legal and other unfamiliar terms. Some will be in Latin, antiquated English or Scots. Readers need to be able to understand the nature and intent of a range of documents as well as the palaeography (the handwriting) and orthography (the 'shape' of the contents). Documents covered include wills and testaments, contracts, indentures, charters, land records, personal letters, official records, Church records and others, mainly from the period 1560 to 1800. Also covered are dates, numbers, calendars, measurements and money, abbreviations, transcription conventions, letter-forms and glossaries, and it includes a Latin primer.genealogy -- handbooks, local history -- archival resources., genealogy -- archival resources.

Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

This agreement between the Association for the Blind and Emma Irene Parkins lays out the terms and conditions of a fund-raising initiative to be driven by E.I. Parkins, with the aim of selling entry tokens for a "Name the Home" competition at 2 shillings apiece. The first prize was a Ford Falcon Sedan. The agreement is Dated 1st day of July 1962, but Signed and Dated by CEO J. W. Wilson and E. I. Parkins on 28/03/1962. There are 2 copies of the agreement, one containing hand-written annotations in pencil. 4 typed pages of legal agreementassociation for the blind, emma parkins, john wilson, fundraising

This agreement between the Association for Advancement the Blind and J. W. Wilson, Secretary lays out the terms and conditions the hire-purchase of a motor vehicle at 16 pounds per month totalling 1039 pounds. The agreement is Dated 18th November 1953, and is signed and Sealed by members of the General Committee and J. W. Wilson. 5 pages of typed legal agreementassociation for the advancement of the blind, john wilson

This agreement between the Association for Advancement the Blind and Trustees (namely William Henry Paterson, Howard Murray Lightfoot and Arthur Malvern Yeatman) lays out the terms and conditions surrounding the Association's access and usage of the Kooyong recreation grounds and club-house. The agreement is dated 14th February 1951, and is signed by the three Trustees, as well as members of the General Committee, namely Bruce Small, W.J.S. Horsfall and Edwin Dean, as well as Secretary G. R. Fowler. There are 2 copies held. 2 pages of typed legal agreementassociation for the advancement of the blind, william paterson, h.m. lightfoot, arthur yeatman, victorian blind cricket association, victorian blind soccer association, kooyong club house

This agreement between the Association for Advancement the Blind and Trustees (namely William Henry Paterson, George Arnot Maxwell and Bertram Grosbie Goold) lays out the terms and conditions surrounding the Association's access and usage of the Kooyong Clubhouse for the Blind and Cricket Oval. The agreement is Dated 21st August 1933, and is signed by the three Trustees, as well as members of the Association, namely Matilda Ann Aston and William Charles Willmott. There are 2 copies of the agreement, one containing hand-written annotations in pencil, which are largely illegible.2 typed pages of legal agreementassociation for the advancement of the blind, william paterson, george maxwell, bertram goold, tilly aston, william willmott, kooyong club house

This agreement between the Association for Advancement the Blind and Trustees (namely William Henry Paterson, George Arnot Maxwell and Bertram Grosbie Goold) lays out the terms and conditions surrounding the Association's access and usage of the Kooyong Clubhouse for the Blind and Cricket Oval. The agreement is Dated 19th July, 1926, and is signed by the three Trustees. 2 typed pages of legal agreementassociation for the advancement of the blind, william paterson, george maxwell, bertram goold, kooyong club house

This is an authorised photocopy (date stamped 8th July 1969) of the original Trust Deed for the property holding the Kooyong Clubhouse for the Blind, original dated 19th July, 1926. The wording of the Deed is the same as the Deed of Agreement, but also contains the discussed graphics representing the location and measurements of the land being discussed. The signatures contained are the same as the Deed of Agreement. 3 typed pages of legal agreementassociation for the advancement of the blind, william paterson, george maxwell, kooyong club house

This agreement between the Association for the Blind and Emma Irene Parkins lays out the terms and conditions of a fund-raising initiative to be driven by E.I. Parkins, with the aim of selling entry cards for a "Last Line" competition at 2 shillings apiece. The first prize was a Ford Falcon Sedan. The agreement is Dated 1st day of July 1962, and Signed by CEO J. W. Wilson and E. I. Parkins. The agreement, contains some hand-written annotations in pen. 4 typed pages of legal agreementassociation for the blind, john wilson, emma parkins, fundraising

This agreement between the Association for the Blind and Emma Irene Parkins lays out the terms and conditions of a fund-raising initiative to be driven by E.I. Parkins, with the aim of selling donor tokens at 20 cents apiece. The agreement is Dated 1st day of July 1967, and Signed by CEO J. W. Wilson and E. I. Parkins. The agreement contains some hand-written annotations in pen. 3 typed pages of legal agreementassociation for the blind, john wilson, emma parkins, fundraising

This agreement between the Association for the Blind and Trustees (namely Dudley William Fielding Lucas, Howard Murray Lightfoot and George F. Henning) lays out the terms and conditions surrounding the Association's access and usage of the Kooyong recreation grounds and club-house. The agreement is undated except for the year, and unsigned.3 typed pages of legal agreementassociation for the blind, h.m. lightfoot, george henning, dudley lucas, kooyong club house

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. Ronald Joseph Hoban was born in 1930. In 1951, Mr Hoban, or "Hobie" as he became known, opened his hairdresser and tobacconist business in Corryong. This was at the height of the construction of the Snowy Mountains Scheme and business was thriving. As the tobacco industry slowed down, Mr. Hoban branched out to selling sporting equipment with a focus on fishing tackle and even selling guns and ammunition when it was legal to do so. He was an active and much-loved member of the Corryong community until his death in November 2014. This portrait is significant as it depicts a person who made a significant contribution to community of Corryong and district. The business he established still operates as Hobie’s Sports Store.A black and white photo of a man standing behind a barber's chair, scissors in hand. He has glasses pushed up on his forehead. Tobacco products are stored on the shelves in the background.ron hoban, corryong barber, people of the border

James Stewart Noel Harris was born in Rutherglen on 21 March 1905 to John Richards Harris and Jessie Lily nee Prentice. His father was a doctor in Rutherglen. John later entered politics and was knighted for his services in May 1937. After finishing his secondary schooling James (Stewart) Harris moved to Melbourne to study law, becoming a resident of Trinity College in 1925 and rising to become Senior Student in his final year, 1928-29. He enlisted in the Air Force Cadets at Point Cook in 1925 and transferred to the Air Force Reserve in 1930. On 7th October 1940 James transferred to active service as a Flight Officer. He worked his way up the ranks, being appointed Wing Commander in 1944. He also served as Chief Instructor of the RAAF School of Administration, receiving the RAAF Long Service Commendation. The RAAF School of Administration and Special Duties had moved from Ascot Vale to Trinity College in 1942 meaning that James Harris' service career had returned to the place it began in 1925. In 1945 he requested to be transferred back to the Reserve so that he could resume his civilian life. On discharge, James returned to Wodonga and resumed his legal career. In the early 1930s he had joined the legal practice of Mr. Edmondstone which had opened for business in High Street, Wodonga in 1886. The practice continued to develop and in 1966 was joined by Lou Lieberman, becoming known as “Harris Lieberman & Co”. Harris Lieberman still operates in Wodonga and Albury. James Stewart Noel Harris died in Wodonga on 30th November 1978.This item is significant because it recognises the War Service of a prominent citizen of Wodonga.A colour printed certificate presented to James S. N, Harris in appreciation for his service for "King and Empire" during World War II. The text is surrounded by columns and an arch. The Australian and British flags are at the top as well as representations of the Navy, Army and Air Force. It also features the logo of the Shire of Wodonga above the text. The badge of the Commonwealth Armed Forces is at the centre bottom of the certificate. This small collection also includes black and white photographs of James Samuel Noel Harris in uniform and also saluting on presentation of an award recognising his service in 1942.On Certificate: PRESENTED TO James S. N. Harris BY THE PRESIDENT, COUNCILLORS AND CITIZENS OF THE SHIRE OF WODONGA as a record and an appreciation of Your Services to King and Country during the Great War which commenced 3rd September, 1939. Given under the Common Seal of the Shire of Wodonga by the President, Citizens this Councillors and Citizens this 25th day of February 1946 C F Pollard, Presidentjames stewart noel harris, servicemen wodonga wwii, harris lieberman

A certificate of incorporation for Melbourne Legacy dated May 1996, and a memo from the CEO Terry Walsh about the legal status of Melbourne Legacy. There is an additional document titled 'Legacy Foundation No 3' .A record that Legacy took steps to be legally incorporated in 1996.White A4 paper certificate of incorporation of Melbourne Legacy and a memo and handbook.F/s L1 G.J. Welsh handwritten in biro on back page.regulations, legal

A brochure explaining Legacy's work and the facilities they provide. It is aimed at the widows to inform them of what is available to them and it outlines the times for classes for the children. 'Melbourne Legacy offers friendship and help to the dependants of our departed comrades.' Headings included: Help and advice to mothers or guardians; Mothers' Club; Senior Widows' Club; Housing and repairs; Legal advice; Medical, dental and optical care; Education, Employment, Camps and holidays, Christmas party, Residences, Junior Legacy groups. A record of how Legacy portrayed itself to the widows and children in 1961 and 1962.Black and white brochure x 6 pages made of white paper, folded into a 6 page booklet from June 1961 and another from October 1962. Black printed text. legacy promotion, fundraising