This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductionswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

Annotation. This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductionswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

This is the same gimp as on the curtains. Probably saved because it was beautiful and expensive, but inherently decontextualised from its original historic use.Length of decorative upholstery gimp, unpicked from original curtains and wound onto a piece of card for storage. Gimp is a type of upholstery trim. a flat tape made up of threads or fine cords forming a wave or chain design, held in place by another wavy cord to produce an openwork, geometric braid. In this item, the cords are respectively light blue and metallic gold (much of it tarnished to silvery colour). The gimp is en suite with the set of curtains and their ornaments (qv) - another luxurious trimming for expensive furnishings.upholstery trimmings

This hat was worn by Martin Balsarini. Martin was a First World War veteran of the AIF Light Horse. He fought in the battle of Bersheeba. It is thought that Martin assembled this hat from various pieces to wear after the war on his property in Chiltern Valley. The hat is composed of different elements, including badges from various times and places and a set of emu feathers. chiltern, light horse, wwi, aif, martin balsarini

The case belonged to WW2 RAAF Pilot Francis (Frank) Robertson. The case was used to store his pilot equipment (goggles, flying hat) and set of uniforms. 1940's era leather overnight carry case. Belonged to RAAF pilot Frank Robertson. Leather hard mid brown coloured overnight carry case, brass keyholes, leather restraining straps on the inside of the lid. The internal material lining appears to be of strong cotton weave and is strped in colours of light tan, white and fawn. There is no identifying make or brand on the case. Unknown if it is military in issue. Nilww2 era raaf pilot frank robertson carry case, 1940's brown leather carry case

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

Commissioned by Nillumbik Shire Council - 1997 The selection panel in the commissioning process to this 'extraordinary acquisition' was Rhonda Noble, Director of La Trobe University Museum of Art, Jeph Neale, Eltham Roundabout Advisory Group, Chris Marks, NSC Curator of Collections, Geoff Glynn, NSC Manager of Infrastructure Development.'Nest' highlights the indigenous flora and fauna of the Shire. The stiff, coarse grass used to create the nest is indigenous to the area and the eggs are like those of the spotted quail thrush, a ground-nesting bird of the Shire. The circular flow or placement of the eggs recalls the revolution of the seasons and nesting cycles. There is a tall light pole above the eggs, shining down at night. The effect is of a giant incubator. Enrichment and nurturing of the larger environment can be associated with this sculpture. This work resembles a large bird's nest, with three egg-like forms of fibreglass covered in a pebble render, set on sand. The nest is positioned within the paved boundary of the roundabout. The nest shape has been created out of stiff, coarse indigenous grass, periodically trimmed so the view is not obstructed. The eggs are a brown-speckled, creamy yellow colour. The three eggs are arranged in a ring, with the narrow end of each pointing to the large end of the next, in a circle that mimics the flow of traffic. N/Apublic art, nest, eggs, eltham, ekphrasis2017, mosaic, pebbles, roundabout, spotted quail thrush

Made of metal and wood. Set in a cabinet with a drop down bench that can be rested on the open door to extend bench space. Metal treadle and what appears to be an electric treadle and and electric light. Accompanied by original sales docket and Instruction booklet“Jones” Cabinet model Sewing machine Made in England Medium CS (Cylinder shuttle). Engraved pattern around edge of metalmachine sewing

From Dreams to Reality: Mobile Shearing is a book which details the creation of a portable shearing station on the back of a semi-trailer truck tray. Starting in 2015, Paddy Hanbury and John Bailey sat around a campfire in Twin Hills, Central Queensland. A conversation ensued about Paddy’s desire for a portable shearing station to enable more efficient shearing of his 2,145 km2 property “Arcoona”, 500km north of Adelaide. “I can probably build that for you”, responded John. Three months later John phoned Paddy to inform him he had built a 1/3 scale model of his vision of a mobile shearing facility at his garage in Ocean Grove. After seeing the model, Paddy gave the project the green light. John, with the assistance of his mate Lindsay Price, set about transforming a semi-trailer provided by Paddy into a life-size version of his model, while also working in his fulltime occupation as a builder. Based at Lindsay’s property in Lara, the next 8 months were spent researching, designing, fabricating, and fitting out the trailer. On the 20th of March 2016 at Arcoona, the first sheep was shorn on the portable shearing station. The project was a success, and the mobile shearing facility is now in full service, providing amenities for shearer and sheep alike.64-page book containing colour images. Occasional information text supports these images.sheep shearing, portable shearing

The donor (Lynn Fitzpatrick) purchased these knitting needles 20 years ago from an opportunity shop. Aero Knitting Pins are a discontinued brand that were popular in the 1960s, 70s and 80s. They are made of smooth, aircraft-quality anodized aluminium. To this day, they are a popular and sort after knitting needle. Being a long-lasting product, they are often given as heirlooms. Abel Morrall was a major needle manufacturer from Studley, a town near Redditch. In 1785, Michael Morrall who was taught the art of needle making by a maternal uncle, moved to Studley. He founded the Abel Morrall company with his brother Abel, and another unnamed brother-in-law. Within five years the company was producing 40% of the 2.5 million needles that were made each week in the Redditch area. In 1811 the company introduced the concept of creating the eyes by using a stamping press. Additional machines were invented by them throughout the 19th century leading to major improvements in the way needles were produced. Abel Morrall demonstrated their needle making machinery at the Great Exhibition of 1851 and Queen Victoria personally inspected it. The company selected the demi-griffin for its trademark in 1861, which can be seen on older products produced by the company. Set of four knitting needles stored within paper packaging. Packaging features black, red, and white ink, detailing the selling points of the Aero Knitting Pins. The packaging folds with 3 main sections, each providing different insights into the knitting needles. Examples of this are " CANNOT SOIL LIGHT WOOL", "...SPECIALLY TAPERED POINTS WHICH WILL NOT INJURE THE FINGERS" and "RUSTLESS-NON-GLITTER FINISH". As the packaging unfolds, the grey knitting needles become visible. The needles can be removed from the packaging by sliding them through small bands of paper that hold the needles secure while in transportation. The four knitting needles are a “NEUTRAL” grey colour finished in a double point style.Printed. Orange, White and Black Ink Numerous, see multimediaabel morrall, knitting needles, knitting pins, 1960s home knitting

Coronet was first popular- class camera released in 1961 as distinct from the high and expensive class.Canon Canonet 35mm camera with light meter around and Cannon Lens SE,45mm,1.19. Made by Canon Camera co Inc. speed B(bulb) to one 500th for a second (11 settings), auto made and 'f' setting from 1.9 to 16. Self timer. Camera has a steel base with a satin chrome finish and a leatherette band around camera. Rewind lever and film forward lever on back.Camera has leather carry case in two pieces and strap. Provision for a flash to be fitted. Three items in the set.Canon Canonet, Canon Camera Co Inc made in Japanphotography, cameras

Mitcham Post Office began in a shop in Whitehorse Road next but one from Elizabeth Street and Whitehorse Road. They moved to a shop on the corner of Whitehorse Road and Station Street with Mrs. Markham as Post Mistress. She had an assortment of items for sale in the shop. They daughter May married and lived with her parents and had quite a large family. Mary set up a photographic service, developing films and taking portraits of people and taking sets of photographs of the Mitcham area and selling photographic supplies for Kodak and Hesma. Information supplied by donor, Frances WarrenPart of a photographic folder from Markham's Photographic Service. Grey light cardboard, red markings for borders with dark blue printingMarkham Photographic Servicephotography, processing equipment

The camera was used locally by the donorBlack electronic Agfa Optima camera with sensor and flash in a black vinyl carry zippered carry case. The lens is set in a recessed surround containing a light meter. The surround can be turned to indicate distance for personal, group and scene photos. The lens is described as Alpha Paratronic Dir Solitar 1.2/40. The back opens to contain the film. The orange button is to activate the flash, which folds down to the lens.photography, cameras

belonged to Dorothy Meaghers' motherdonated by Ray Meagher who was a councillor 1972-1979. He was also chairman of works committee 1974-76, and Mayor of Nunawading 1976-77. Rays' wife Dorothy was on lake committee and supported the extension of the lake reserve. Ray was also a local builder.1 rectangular cream coloured tray .2 oval shaped hand mirror with handle, coloured cream .3 narrow oblong cream coloured brush .4 oblong cream brush .5 rounded square cream powder container with raised bump on each side .6 lid for powder container with raised bumps on each side square shape .7square handkerchief with farm animals- blue edged .8 round pink coloured powder puff, dark pink. .9 round pink coloured powder puff, light pink. .10 round circle of nylon meshon cream container 'made in England'personal effects-toilet requisites, cosmetics

13th Brigade (Devil's Own) is part of the 2nd Division and is Headquartered in Perth!! Part of the 4th Light Horse trained at Broadmeadows.Wooden framed glass display box. Contains 10 items : - Anzac Day Medal 1918; Large brass rising sun;set of spurs with three pence piece inserted in place of rowel; Dress medals;1915 Star;British War Medal;Victory Medal;metal bit;brass/black fob watch;white and red patch with a over;silver coloured dog tag belonging to #592 V C Walker HQ 13th ALH C of C.Inscription on rear of frame V C Walker 592 13th A L H.

Nimons Bridge was built in 1890, as part of the then Ballarat-Linton railway. The bridge is 17 spans with tall timber piers of four driven piles each, with triple sets of diagonal cross-bracing and walers and a single row of longitudinal horizontal bracing between piers. The spans are of a uniform twenty feet (6.1 metres), originally supported by four 21-inch x 9-inch (535 mm x 230 mm) Kauri timber beams per span, following the standard V.R. design of the period. When the superstructure was rebuilt after the 1953 fire, the timber beams were replaced with two 24-inch (610mm) deep rolled-steel-joists on each span. These are marked 'Lancashire Steel Co., Scotland' and are believed to have been second-hand. The deck of transverse-timber planks is 103.6 metres in length. Overall the bridge has an impressive appearance with its exceptionally tall triple-cross-braced piers creating a 'three-tiered' effect, with the deck 19.2 metres above the Woady Yaloak River. The Ballarat-Skipton line closed in 1985. Nimons Bridge has been recently restored, as part of the Ballarat-Skipton Rail Trail. How is it significant? Nimons Bridge is significant for technical, historic and aesthetic reasons at a State level. Why is it significant? Nimons Bridge is technically significant as Victoria's fourth-tallest timber trestle bridge when built, and as the third-tallest surviving example. It is also the second-largest composite bridge combining traditional timber piers with RSJ spans and a timber deck and falls within a select group of fewer than ten timber railway bridges with horizontal longitudinal bracing between the piers and three sets of double cross-bracing on its tallest piers, creating a visually striking 'three tiered' effect that enhances its viaduct form. Nimons Bridge is historically significant as having served initially the mining community at Linton, then the Western District agricultural area and in later years a kaolin quarry at Pittong. Nimons Bridge is historically significant as a representative of the 'light' branch line methodology that stimulated the explosion of railway construction in Victoria during the 1880s, and provides an interesting contrast with the more solid and vastly more expensive railway viaducts built in similar terrain on Victorian main lines, at Moorabool and Taradale, in the late 1850s. Approached by a deep cutting and high embankment at either end, the bridge represents a very cost-effective late 19th century engineering solution to the characteristic physiography of western Victoria with flat basalt plains intersected by deep wide valleys occasionally subject to severe flooding. Nimons Bridge is aesthetically significant for its visually impressive viaduct form, crossing a deep and steep-sided valley that is part of a rich cultural landscape. Within close proximity of the bridge are mullock dumps, tailings, shaft sites and other relics of the deep-lead alluvial mining era. The bridge is the most visually spectacular timber-trestle rail bridge in Western Victoria and is among the most spectacular timber-trestle rail bridges surviving anywhere in Victoria. It is part of the Ballarat-Skipton Rail Trail. Classified by the National Trust :02/10/2000 (http://vhd.heritagecouncil.vic.gov.au/places/67986)Colour photograph of a log bridge known as Nimon's Bridge.ballarat-linton, nimons bridge, nimon's bridge, log bridge, viaduct, timber-trestle rail bridge

A property illustration by Margret Picken Commissioned by the real estate agency Woodards Blackburn for the purpose of advertising 96 Mahoneys Rd., Forest Hill. This property is listed as having sold for $142,500 in 1994. Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 165 Mahoneys Rd., Forest Hill, a brick path leading to a flat roofed single story house set back from a lawn and garden in the foreground. There are two hole punch holes centre near the upper edge. There are smudges near the top left corner of the artwork. There are light linear marks on near the centre right border. 165 Mahoneys Rd., Forest Hill Margaret Picken -94 Woodards - B/Burnwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, forest hill

Emigre Frederick Sterne set up a four-year Interior Design program for the Melbourne Technical College c. 1948. It was the first program of its kind in Australia, On the cover the hand-written words ‘Interior Design’ have a sense of pride in their hand and the drawing of an interior – probably Sterne’s – emerging from the drawing board illuminated by artificial light that projects a future. Suzie Attiwell, 2017interior design, rmit university

Wooden dolls furniture, painted light blue. Furniture consists fo 2x chairs, table and a kitchen dressertoys, children, presents, dolls furniture

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Bolero - 79 rhapsodic light-classical favourites. LP 33RPM vinyl - Box set, 1 large cardboard box - package still intact, unopened.lp, sound recording

This object relates to Ian Ernest STADUS. He was born on 09/11/1922 in Dimboola, VIC. Ian Ernest served in the RAN Reserve (PM3734) enlisting on, 15/10/1941 before being discharged from duties with the HMAS Lonsdale on 21/02/1946. Ian Ernest STADUS was not a prisoner of war. His next of kin is Bessie Agnes STADUS (mother). Ian Ernest Stadus was awarded the 1939-1945 Star, Australian Service Medal 1945-1975, Defence Medal, Pacific Star, War Medal 1939-1945.Ribbon bar that has three sets of colour palates: 1) stripes in dark blue, red, yellow, red and yellow, yellow, red light blue; 2) stripes in gold and blue; 3) stripes in green and white.On the back of the ribbon is a long fastener pin.first world war (ww1), 1914 - 1918, medals, ballarat rsl, ballarat

Cypriot White Painted Ware from the Middle/Late Cypriot Bronze AgeWith loop handle, the neck with light brown horizontal lines, and the body with two friezes of vertical strokes, the lower body with a set of wavy horizontal lines, the base quartered by wavy lines centred with dots. cypriot

From the Argus Newspaper of 10 May 1888: "OLD COLONISTS' ASSOCIATION OF BALLARAT. (FROM OUR CORRESPONDENT.) BALLARAT, WEDNESDAY. This association, which was founded in August, 1883, and at first known as the Old Identities' Association, now has a roll of 450 members. The objects of the association are "to aid and assist indigent or suffering old colonists; to raise a fund, by the voluntary subscriptions of the members and the aid of outside donations, for the purpose of relieving members in sickness and old age ; for assisting those in extreme distress, to provide the shelter o a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association, and in the event of the death of any member to have his remains decently buried, the association defraying the expenses of the funeral (providing that no funds or property are left by the deceased), and to attend the funeral if so desired by the relatives " The qualifications for member- ship are good character and repute, and residence in the colonies for a quarter of a century. For some time the association had no property except the regular subscriptions, but about a year ago they obtained from the Minister of Lands the grant of a very valuable block of land in Lydiard-street, the Crown grant of which they received last week. This block has a frontage of 66ft to Lydiard street, worth at least £100 a foot. The ground was given to the association as a site for them to build a hall upon, and with so valuable an asset they had no difficulty in borrowing at 7 per cent, enough money to construct a hall. For revenue purposes the ground floor of the building has been made into four shops, and the rental from these, judging from the rentals of shops in the vicinity, will not only pay all the interest on the borrowed money, but over £200 a year towards clearing off the principal. The officers of the association are Messrs J P Murray, president; J W Graham and T. Stoddart, vice presidents; D Fern, treasurer , and J Fraser, secretary. The Old Colonists' Hall is an elegant looking building in Lydiard-street, lying between the newly-opened mining exchange and the Commercial Club house, and a few doors north of the Post office. The style of the facade is classic. The lower portion of the front is constructed of Waurn Ponds stone, forming piers, and the upper portion of brick and cement, the background being tuckpointed. The centre bay is carried by two three quarter columns with Ionic cups, which support a pediment on which is set a cast of the Ballarat coat of arms. The four other bays are supported by pilasters with Corinthian caps mid partly fluted. The entrance is through a spacious circular headed doorway, the keystone of the arch of which bears a sculptured head, in marble, representing that of the president of the Old Colonists' Association here, Mr. John P Murray. An ample vestibule leads to a wide stone staircase which ends at a spacious landing. The landing has a dome over the centre, with cornice and enrichments, and is lighted from above. The walls round the landing are panelled with marble slabs, which are to be appropriately inscribed in the future. On the first door are the rooms appropriated to the association. The principal of these is a hall 44ft x 33ft and 17ft high. This room is well ventilated and lighted from the back of the building with large windows, and the walls are finished with Keene's cement. The other rooms are committee room, 14ft x 16ft; scretary's, 14ft x 17ft 6in; kitchen, bedrooms, bathroom, &c. The front portion of the first floor is arranged so that it may be let for offices, or utilised for club purposes. Suitable provision has been made throughout tor lighting, ventilation, and means of egress. The architect for the edifice is Mr A. G Legge, of this city, and the contractors are Messrs. Whitelaw and Atkinson, Irving and Glover, Reynolds, and J Donaldson. The total cost of the building when completed, which will be in a few weeks, will be about £4,000."Colour photograph of a room with marble plaques on the wall. They relate to the Old Colonists' Association of Ballarat, old colonists' association ballarat, old colonists' club, marbles

The Old Colonists' Association Ballarat Inc. is a not for profit charitable organisation providing accommodation for elderly people. It manages a 27 Home retirement village at Charles Anderson Grove Ballarat. Accommodation is offered at significantly below market rates. It has been providing low cost accommodation to the elderly since the 1920s. The Association Council overseas the running of this facility on a voluntary basis. OLD COLONISTS' ASSOCIATION OF BALLARAT. (FROM OUR CORRESPONDENT.) BALLARAT, WEDNESDAY. This association, which was founded in August, 1883, and at first known as the Old Identities' Association, now has a roll of 450 members. The objects of the association are "to aid and assist indigent or suffering old colonists ; to raise a fund, by the voluntary subscriptions of the members and the aid of outside donations, for the purpose of relieving members in sickness and old age; for assisting those in extreme distress, to provide the shelter of a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association, and in the event of the death of any member to have his remains decently buried, the association defraying the expenses of the funeral (providing that no funds or property are left by the deceased), and to attend the funeral if so desired by the relatives." The qualifications for member ship are good character and repute, and residence in the colonies for a quarter of a century. For some time the association had no property except the regular subscriptions, but about a year ago they obtained from the Minister of Lands the grant of a very valuable block of land in Lydiard-street, the Crown grant of which they received last week. This block has a frontage of 66ft to Lydiard street, worth at least £100 a foot. The ground was given to the association as a site for them to build a hall upon, and with so valuable an asset they had no difficulty in borrowing at 7 per cent, enough money to construct a hall. For revenue purposes the ground floor of the building has been made into four shops, and the rental from these, judging from the rentals of shops in the vicinity, will not only pay all the interest on the borrowed money, but over £200 a year towards clearing off the principal. The officers of the association are Messrs J. P. Murray, President; J. W. Graham and T. Stoddart, vice presidents; D. Fern, treasurer; and J. Fraser, secretary. The Old Colonists' Hall is an elegant looking building in Lydiard-street, lying between the newly-opened mining exchange and the Commercial Club house, and a few doors north of the Post Office. The style of the facade is classic. The lower portion of the front is constructed of Waurn Ponds stone, forming piers, and the upper portion of brick and cement, the background being tuckpointed. The centre bay is carried by two three quarter columns with Ionic cups, which support a pediment on which is set a cast of the Ballarat coat of arms. The four other bays are supported by pilasters with Corinthian caps mid partly fluted. The entrance is through a spacious circular headed doorway, the keystone of the arch of which bears a sculptured head, in marble, representing that of the president of the Old Colonists' Association here, Mr. John P. Murray. An ample vestibule leads to a wide stone staircase which ends at a spacious landing. The landing has a dome over the centre, with cornice and enrichments, and is lighted from above. The walls round the landing are panelled with marble slabs, which are to be appropriately inscribed in the future. On the first door are the rooms appropriated to the association. The principal of these is a hall 44ft x 33ft and 17ft high. This room is well ventilated and lighted from the back of the building with large windows, and the walls are finished with Keene's cement. The other rooms are committee room, 14ft x 16ft; secretary's, 14ft x 17ft, 6in; kitchen, bedrooms, bathroom, &c. The front portion of the first floor is arranged so that it may be let for offices, or utilised for club purposes. Suitable provision has been made throughout for lighting, ventilation, and means of egress. The architect for the edifice is Mr A. G. Legge, of this city, and the contractors are Messrs. Whitelaw and Atkinson, Irving and Glover, Reynolds, and J. Donaldson. The total cost of the building when completed, which will be in a few weeks, will be about £4,000. (The Argus, 10 May 1888)ballarat old colonists' club, charles anderson grove, old colonists' association

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Unique collection of photographs showing the first years of an armoured regiment of the post-Second World War Citizen Military Forces showing equipment, uniforms, training and social activity and some personalities.Black and white photograph of soldiers wearing headsets and sitting in front of radio set on desk. One of a collection of photographs of 8th/13th Victorian Mounted Rifles Regiment between 1948 and 1951." Old Radio Set Room, Albury "8th/13th victorian mounted rifles, radio

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Unique collection of photographs showing the first years of an armoured regiment of the post-Second World War era Citizen Military Forces showing equipment, uniforms, training and social activity and some personalities.Black and white photograph of four soldiers in variety of uniforms standing beside civilian utility vehicle. One is wearing winter service dress, one in khaki drill uniform, two are wearing V neck Army jumpers. One is wearing headphones, one haslength of radio aerial. One of a collection of photographs of 8th/13th Victorian Mounted Rifles Regiment between 1948 and 1951." Cunningham Alternative Command Vehicle. No. 1 Set Training. John Neale, George Atkinson, Bill Purcell, Ron Braddy. "

In 1965, 8th/13th Victorian Mounted Rifles held a sustained Recruiting Drive. It was the responsibility of individual CMF units to do their own recruiting and training.Collection of photographs showing an armoured regiment of the Citizen Forces in the 1960s as it transitioned from wheeled armoured vehicles to tanks to M113 armoured personal carriers.Black and white photograph of Shopfront set up as temporary Recruiting Office for 8th/13th Victorian Mounted Rifles. Mannequin and photographs visible in interior of building." Regimental Recruiting Office, Commercial Club Building 1965."