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City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's camisole, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families This fine voile,lady's camisole with embroidery and pink ribbon is an example of the dressmaking skills and craftwork of the women of the pioneer families. The Risstrom family were early settlers in Moorabbin Shire.A lady's, fine, voile camisole with embroidery and pink ribbon insert.clothing, pioneers, dressmaking, market gardeners, early settlers, craftwork, moorabbin brighton, risstrom lorna -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, christening gown, c1880
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families This very long, baby’s christening gown with cut-work, is an example of the dressmaking skills and craftwork of the women of the pioneer families. The Marshall family were early settlers in Moorabbin Shire. A very long, baby’s christening gown with hand cut-work c 1880clothing, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork, mrs marshall -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, baby's pants, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these familiesThis pair of white cotton baby's pants with button holes is an example of the dressmaking skills and craft-work of the women of the pioneer families. The Peck family were early settlers in Moorabbin Shire.A pair of baby's white cotton pants with button-holes at waist.clothing, brighton, moorabbin, bentleigh, dressmaking, early settlers, craftwork, mr peck -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's half-slip, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these familiesThis white cotton lady's half slip is an example of the dressmaking skills and craft-work of the women of the pioneer families of Moorabbin ShireA lady's white, fine cotton,half-slip with lace and pink ribbon insertclothing, brighton, moorabbin, bentleigh, dressmaking, early settlers, craftwork -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, baby's singlet and lace collar, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families The Peck family were early settlers in Moorabbin Shirea) A white cotton baby's under-singlet, with hand-crocheting around neckline. b) The singlet is topped by a separate, heavily machine-embroidered, white cotton dress-collar .clothing, craftwork, dressmaking, crochetwork, pioneers, early settlers, moorabbin, brighton, peck family -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's underwear, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families This pair of lady’s underwear is an example of the dressmaking skills and craftwork of the women of the pioneer families. The Thompson family were early settlers in Moorabbin ShireA pair of lady's cotton draw-string drawersclothing, craftwork, dressmaking, pioneers, early settlers, market gardeners, moorabbin, brighton -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's camisole, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families This voile, lady's camisole with lace is an example of the dressmaking skills and craftwork of the women of the pioneer families. The Walker family were early settlers in Moorabbin Shire.A lady's voile camisole with laceclothing, craftwork, dressmaking, pioneers, early settlers, moorabbin, brighton, market gardeners, walker alice -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's camisole, c1900
The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of the many items that exhibit the skill and craftsmanship of the women of these families This ecru, lady's camisole with crocheted top is an example of the dressmaking skills and craftwork of the women of the pioneer families..An ecru, lady's camisole with hand crocheted top.clothing. craftwork, pioneers, early settlers, market gardeners, moorabbin, brighton -
National Wool Museum
Report, Dennys, Lascelles Limited : Wool Industry Study Tour of Japan and Hong Kong, March 1970, 1970
Dennys, Lascelles Limited: Wool Industry Study Tour of Japan and Hong Kong, March 1970. Part of the NWM Woolbroker's Office exhibit until late 1990's.Three copies. Report, 15pp: Small booklet, cream, soft textured cover with title and date in black ink. Stapled twice at left. Dennys, Lascelles Limited : Wool Industry Study Tour of Japan and Hong Kong, March 1970wool stores wool marketing, dennys, lascelles limited, wool stores, wool marketing -
Puffing Billy Railway
Fowler - Diesel Locomotive
Fowler Diesel Locomotive Diesel Locomotive fitted with a Detroit 471 engine. One of the early diesel locomotives used to work on the Queensland canefields. Privately Owned - Exhibit on loan Historic - Industrial Narrow Gauge Railway - Diesel Locomotive that worked in the Sugar cane fields in Queensland Diesel Locomotive made out of steel wrought iron and iron puffing billy, fowler, locomotive, diesel, detroit 471, industrial narrow gauge railway -
Bendigo Historical Society Inc.
Painting - 180 MINE BATTERY
The remains of the 180 mine battery as painted by Alfred Perry in 1959. This is a watercolour and indian ink sketch on card. Yellow card attached with painting states: ' George Lansell Exhibit No 4. The remains of the 180 mine battery as painted by Alfred Perry in 1959. It was from the 180 that George Lansell laid the foundations of his fortune and indeed the fortunes of the district. With his capital behind the field mining flourished for nearly one hundred years and ensured employment for the many miners in the district.'Alfred Perryartwork, print, mining heritage, alfred perry, mining battery, 180 mine, victoria hill -
Bendigo Historical Society Inc.
Document - W. COWLING INVITATION
Invitation card: you are cordially invited to a Special Advance Showing of the New Ford Car to be held at our showroom Wednesday, May 30th and Thursday, May 31st. The models exhibited at the Melbourne Town Hall and viewed there by over 100,000 people will be shown. W. Cowling Bendigo District Authorised Ford Dealers. Orchestral selections afternoon and evening each day. On the back: you are cordially invited to a special advance showing of the new Ford car to be held at our showrooms.business, retail, w. cowling -
Bendigo Historical Society Inc.
Book - CENTENNIAL INTERNATIONAL EXHIBITION MELBOURNE 1888-9 OFFICIAL RECORD, 1890
Official record of the Centennial International Exhibition Melbourne 1888-1889 containing a sketch of the industrial and economic progress of the Australasian colonies during the first century of their existence and of the exhibition held in Melbourne, Victoria to commemorate the close of that period, also records of the manner in which the work of the different sections of the exhibition was carried out, the official awards of the executive commissioners, the catalogue of exhibits together with sundry illustrations. Published by authority of the executive commissioners, printed by Sands & Mcdougall Ltd 1138 pages with a pull out map.book, exhibitions, exhibitions, centennial international exhibition, awards -
Ringwood and District Historical Society
Book, Valerie Polley, War & Warrandyte 1914-18 - Valerie Polley, 2016
The story of the township and its enlisted men during the Great War, by Valerie Polley, Warrandyte Historical Society.This book has been compiled from posters exhibited in the Warrandyte Historical Society's exhibition entitled War & Warrandyte 1914-18, made possible by a grant through the Anzac Centenary Community Grants (Veterans Fund) from the Victorian Government and the Victorian Veterans Council. -
National Wool Museum
Quilt, Sure as night follows day
The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan -
Melbourne Tram Museum
Photograph - Set of 3 Colour Print/s, Jeff Bounds, 11/03/1991 12:00:00 AM
Set of three colour prints of TMSV operating the motorised cable tram set and Royal Park tram 256 11/3/1991. The rear of each photograph gives the details. Photos by Jeff Bounds. 1 - "Cable tram dummy 593 being pushed along Kingsway along Kingsway, side South Melbourne Depot after breaking chain drive in Park St when turning from St Kilda Road." SW 5, 777, route 64 following along with another tram. 2 - "Cable tram set 593 and 171 in Swanston St, looking north to Franklin St, as TMSV Exhibit in Moomba Parade in conjunction with the Villa Maria Society." 3 - "Horse tram 256 waiting alongside tracks in Swanston St (north) for Met Tram service to allow for it to enter The Moomba Parade as part of The Met exhibit." 256 is alongside W6 964, running a South Melbourne Beach route 1, followed by a W7 St Kilda Beach, route 15. Has the Royal Women's Hospital in the background.All have above details written in ink, along with "TMSV" and "11/3/91".trams, tramways, tmsv, moomba, events, swanston st, kingsway, w6 class, cable trams, w7 class, sw5 class, route 1, route 15, route 64, w6 class, tram 593, tram 171, tram 593, tram 777, tram 964 -
Nillumbik Shire Council
Ceramics (plate): Mary-Lou PITTARD, Mary-Lou Pittard, Serving platter
Mary-Lou began exhibiting in the mid 1980s and over the years has been known for producing unique pieces of domestic ware influenced by food and traditional ceramic ware of the past.Food and tradition have always played a big part in Mary Lou’s ceramic work. 'Serving Platter' is rich in colour. The decorative designs are inspired by her surroundings in a style reminiscent of the past. Mary-Lou and husband Chris have a studio and gallery attached to their residential property in Eltham North which is open to the public. They also participate in the Nillumbik Artists Open Studios program. Oval platter with bold, stylised flowers glazed in reds, blues and yellows.mary-lou pittard, eltham, nillumbik, ceramic -
Port Melbourne Historical & Preservation Society
Photograph - North Sandridge, 1870s
One of a set of prints given by Syd Anderson (Town Clerk 1920-59) to his daughter-in-law Phyllis (donor). Photos in the set were exhibited in 1873 at the Melbourne Exhibition.North Sandridge/North Port station in the 1870s with footpath across railway reserve, Station Place in background. Hotel appears to be Lord Raglan Family Hotel"P. Anderson" ink, on back.transport - railways, built environment, sydney sims anderson, town clerks, station street, station place -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Waking Time, 2012
'Waking Time' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012.In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects.Pigment Print on Hahnemuhle Paper Edition of 7AK18136 PNT817dena ashbolt, photographic print -
Nillumbik Shire Council
Photograph: Dena ASHBOLT (b.UK, arrived 1982 AUS), Dena Ashbolt, Countless Daughters, 2012
'Countless Daughters' is part of the series ' So when do you throw the flowers out?', which exhibited at Melbourne's Alcaston Gallery from 8 May - 1 June 2012In this series Dena Ashbolt used photographic pigment prints, video and Raku Nu ceramic funery urn drawings, to explore time as evidenced by movement and references the beauty of aging. Ashbolt has a continuing interest engaging with the concepts of time, its flow and passing - as evident in this series. Ashbolt has been a regular finalist at the Nillumbik Prize Contemporary Art and in 2009 was awarded the Prize for the video drawing 'Wet Feet Under the Pier'. Ashbolt is a inter-disciplinary artist whose practice ranges from photography and printmaking through to filmmaking and collaborative performance projects. Pigment Print on Hahnemuhle Paper Edition of 7AK18137 PNT809photographic pigment prints, dena ashbolt -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Allan Charles Quinn, M/S "Mongabarra" in dry-dock at Eriksbergs, 1950
This series of photographs captures life at sea and the conditions on the ship M/S "Mongabarra" in 1950. This photograph was reproduced and exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This photograph is part of the Allan Quinn collection, which is a pictorial autobiography, and it represents one of many moments of his time abroad as a seafarer.Black and white photograph of the M/S "Mongabarra" Goteborg in Eriksbergs dockyard, Gothenburg, Sweden. The ship is directly in the middle of the photograph taking from the very front of the ship in the dry-dock. There are several ladders lined up along the left-hand side of the ship beginning from the ships front. There are several wooden planks lying on the ground in front of the ship and walls either side of the ship.ship, sweden, mongabarra, allan quinn collection, allan quinn, gothenburg, drydock, shipyard, dockyard, eriksbergs, letters-from-abroad -
Federation University Art Collection
Work on paper - Printmaking - Etching, 'Iridis Navigium' by Christine Stewart, 1993
This work was exhibited in the 1993 3rd year final exhibition. It is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Frame limited edition print.Artist's Proofart, artwork, christine stewart, stewart, available, printmaking -
National Wool Museum
Game, Board, Squatter 1962, 1962
Personal copy of Robert Lloyd. Associated letter provides information about cover photographs. Original version, launched at the Royal Melbourne Show 1962 as part of the Wool Bureau exhibit.NO 4 ASSORTMENT 4.3 Robert C Lloyd/ Personal Copy NWM 99.110sheep stations - management wool growing squatters, john sands pty ltd, lloyd, mr robert, sheep stations - management, wool growing, squatters -
Robin Boyd Foundation
Slide, Robin Boyd, 1967
Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. The garden outside the pavilion featured a sculptural pool, a coral display, animal pool, a pit for kangaroos and Eucalypts and other native plants. The indoor exhibits covered aspects of Australian art and culture, architecture, industrial design and scientific innovation, such as the Snowy Mountains Hydro-Electric Power Scheme, the Parkes radio telescope, the design of Canberra, and the Australian way of life. The coral display was prepared by E Grant, a fisheries research biologist.Colour slide in a mount. Coral display depicting the Great Barrier Reef, Australian Pavilion, Montreal Expo '67, Canada. Made in Australia / 17 / MAY 67M6 / 6 (Handwritten with red pen) / 10 (Handwritten)expo 67, montreal, robin boyd, slide -
National Wool Museum
Book, The Geelong Woolbrokers' Association: Constitution, Rules, Regulations, Wool Selling Regulations and Conditions of sale of wool and grain, 1951
The Geelong Woolbrokers' Association: Constitution, Rules, Regulations, Wool Selling Regulations and Conditions of sale of wool and grain, 1951. Part of the NWM Woolbroker's Office exhibit until late 1990's.Mr Laird annotatedwool stores wool brokering, geelong woolbrokers' association, wool stores, wool brokering -
Federation University Art Collection
Print, Michael Ingleton, Self Portrait with Pocket Plates, 1985
Michael INGLETON (1952- ) After studying at RMIT Michael Ingleton exhibited from the 1970s. This work is from a rare series if prints produced while the artist was in residence at the Montmartre Atelier in France. Five plates depicting from top to bottom: a wind sock; a self portrait; a shell; towers; sailing boats.LL ca "self portrait with pocket plates" LR Michael Ingleton 82'85. LR at base BAT Lawngill (illegible)available -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Allan Charles Quinn, Loading Fish Flour
The photographs shows how the fish flour produced in Angola was loaded by the local people onto ships for exportation. This photograph was exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of bags of flour being hoisted from small row boats up onto the ship. The deck of the ship can be seen on the left side, and eight boats, filled with people and flour bags, towards the right hand corner.allan-quinn, photograph, angola, fish-flour, letters-from-abroad -
The WAMA Project : The National Centre for Environmental Art
Painting, Marianne Wehl (1867 - 1926), Untitled (Boronia pilosa, Pultenaea subalpina, Boronia latipinna), c1887 to 1924
The artist: Marianne Louise Charlotte Amalie Wehl (19 Sept. 1867, Mt Gambier; 26 Oct. 1926, Melbourne), a flower painter who was active in South Australia and Victoria, and not to be confused with Marie Magdalene Wehl. Connection with Baron von Mueller: Von Mueller’s younger sister, Clara married Doctor Eduard Wehl and they lived in South Australia. They had 14 children, 6 of whom collected and painted botanical studies – some now in the National Herbarium, Melbourne. A cousin of Doctor Wehl – Carl Wehl – married Sophia Caroline (née Gorte) and one of their daughters was Marianne Wehl. It is recorded that von Mueller visited the Wehls and D’Altons in Halls Gap (Henrietta D'Alton was also a painter of wildflowers), so it is hard to believe that there is no influence at least. Von Mueller had over 1,400 collectors/artists working for him and 225 of them were women and children. Their work is housed in the National Herbarium, Melbourne. The donor believes that Marianne contributed to this work. There is no record of that, however, as only 169 of the artists have been identified, it may be a possibility. Marianne was one of six children of Carl Jakob Wilhelm Wehl (1830–1899) and Sophia Caroline Wehl (née Gorte) (1843–1920). She never married. https://data.environment.sa.gov.au/Content/Publications/JABG34P001_Dowe.pdf The plants: All of the plants painted by Marianne Wehl's in this donation were identified by Botanist Neil Marriott & Wendy Marriott, in July 2022. Neil Marriott said that the quality and beauty of these botanical studies made it easy for them to identify all the plants. He suggested they may be some of the first paintings of Grampians wildflowers. This makes the paintings highly important scientifically and botanically. Visitors to WAMA will be able to compare them with today’s plants in the Endemic Garden. Neil marvelled that Marianne found the specimens, as some of them are endemic and found only in the highest parts of the Grampians (Mt Rosea, Mt William and Major Mitchell Plateau) and are listed as rare and endangered. Some of these same rare plants have now been propagated by the WAMA team and in winter 2022 were planted in WAMA's Endemic Garden. This framed work is considered by him to be the most significant botanically. Boronia pilosa – Hairy boronia. [Wikipedia says it’s a plant in the citrus family Rutaceae and is endemic to south-eastern Australia MH] Pultenaea subalpina - Rosy Bush-pea. Grampians endemic listed as endangered and only found on the tops of Mt William, Major Mitchell Plateau and Mt Rosea - named for the Rosy Bush-pea that grows on its top! This is the only rose-coloured bush pea in the entire genus, which occurs right across Australia!! We have plants ready to plant in the WAMA endemic garden! Boronia latipinna - Grampians Boronia. Grampians endemic only found on the higher peaks of the central Grampians ranges - listed endangered. NB In some records she is called Marianna (as the donor calls her) and in others Marianne. Wildflower art, Wildlife art, wildflowers, Marianne Wehl, Marianna Wehl, Flower paint, Botany, works on paper, von Mueller, Baron von Mueller, Ferdinand von Mueller, Henrietta D'Alton, WAM, Wild Art Museum Australia, Wildlife Art Museum AustraliaGift of Barbara Crick in memory of Marjorie and Lachlan McLennanThree small paintings of pink wildflowers mounted together in original frame. The central image is an oval, flanked by two rectangular images. The frame is probably original – smooth gloss olive green simulating wood or bamboo. It has a new backing paper.Each image LL ' MW' (underlined), central image has signature obscured by oval vignetted matt. On the reverse side it is marked in black felt pen, “McLennan 106 Bennet Rd (4)” This refers to preparation (rematting / framing?) for exhibiting at Horsham Art Gallery in 1981.wildflowers, flowers -
Port of Echuca
Colour Photograph, Approx.1979
The Bridge Hotel was built by Henry Hopwood, founder of Echuca. The building was in disrepair until it was bought by the Port of Echuca and renovated to be turned into part of the Port of Echuca tourist exhibits and was leased out to be run as a restaurant.The Bridge Hotel is of historical and social significance to Echuca as it was built be Echuca's founder Henry Hopwood. The hotel was situated between the 2 rivers, Murray and Campaspe, where Hopwood ran his punt business, charging people and animals to cross the rivers. The hotel accommodated a variety of paying guest from wealthy squatters to salesmen and general workers. The building was purchased by the Port of Echuca to be part of the tourist attraction. It was extensively renovated to bring it back to its former glory. The Bridge hotel played an important role in the TV series "All the Rivers Run". Colour photograph of the Bridge Hotel, Echuca, after restorations (c.1979)On front of building : Bridge Hotel / Restaurant Printed on reverse:"This paper manufactured by Kodak"bridge hotel, echuca, port of echuca, echuca, victoria -history, henry hopwood -
National Wool Museum
Catalogue, Catalogue of Exhibits - Australian Sheep Breeders' Association 67th Annual Show, 1949
Catalogue of Exhibits - Australian Sheep Breeders' Association 67th Annual Show, 1949. Owned by donors uncle, J.P. Swanton, who ran a small merino stud called 'Spring Hills' at Koriella.agricultural shows, dalgety and company limited australian sheep breeders association