Awarded to S. Hudson 1956 1957: (1) Department of Agriculture, Victoria Certificate of Merit, Class 1 White Leghorns - Wet Mash, Total First Grade Eggs 263, Bird No 144. 1957-1958: (2) Department of Agriculture, Victoria, Certificate of Merit, First Class, Section A Class 1 White Leghorns, Dry Mash. Total First Grade Eggs 240 Bird No 44. Government Champion Certificates, First Prize Section A Class 1 White Leghorns (3) Dry Mash. Total number of First Grade Eggs 1401. (4) Dry Mash, Individual Birds Total number of First Grade Eggs 269. Winter Test, First Prize (5) Total number of First Grade Eggs 95. (6) Total number of First Grade eggs 491. Government Certificates, (7) Winter Test, Third Prize Section A Class 1 White Leghorns - Dry Mash Total number of First Grade eggs 92. (8) Second Prize Section A Class 1 White Leghorns - Dry Mash - Individual Birds Total number of eggs 255. For G. Hudson: (9) to G. Hudson, 1958-59, Winter Test, Equal Third Prize Section 4 Class 1 White Leghorns Dry mash (Individual Bird) Total number of First Grade Eggs 81.egg laying, competition, s. hudson, g. hudson

This is a photo of items made out of Banksia Bauerii. During the 1960's to the 1990's, local women made wooden items and jewellery of pressed flowers for sale at the Wildflower Show.The photo shows a display of wooden items standing on a white dip[lay stand. Dried flowers and grasses can be seen in the background, as well as a sketch on the wall to the right.events, wildflower show

Letter dated 10th August 1893 to Mrs E P Hastings signed Magnus Cohn. Paper has a Water Mark, St.James Air-Dried Vellum.bendigo, industry, cohn bros brewery, mrs e p hastings

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Image of a woman holding a horse in a paddock. Clothes can be seen drying on a line on the right of the image,wodonga pioneers, haeusler family, glass negatives, dry plate photography

Dry point etching. Circular, taupe and black foliage. Trees can be seen in the image, branches, bush and undergrowth. Limed wood frame, single window mount.Front: 'Facet of a Silent Site v/s Herthe Kluge-Pott 2001' - pencilfemale artists, female artist, women

Three typed sheets containing song lyrics, - 'Smile-Sing a Song,' 'My Bonnie,' 'Grandfather's Clock', 'Hickory Dickory Dock,' 'It's A Good Time,' 'There'll Always Be An England,' 'Victory,' and 'Sons of Rotary.'entertainment, singing, lydia chancellor, collection, music, lyrics, singing, entertainment, ephemera, performing arts

Radio and battery joined with a rubberised lead. Khaki in colour16 volt battery; dry; for use with AN/URC/10; radio set; BA/1387/URC10radio, battery, radio sets, sas

Belonged to Aunt of donor. the late Mrs Myrtle Bennett 122 Thames Street Box Hill. She resided there from November, 1939, immediately after her marriage until her death on 27th February 1997.Round yellow plastic machine with white pliable tubing attached to machine at one end and at the other attached to a large yellow and white 'bonnet' with air holes. Electric plug. Contained in a yellow Vinyl case.General Electric Off --- speed dry. Model MD18 703 240 volts --- double insulated.personal effects-toilet requisites, cosmetics

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Lilac glittery knitted ribbed dress, with elbow length sleeves and collar.front [label]: PURE / NEW WOOL back [label]: DRY CLEAN / ONLY / A (60) / 072829knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

Pink, self-stripe -2cm stripe with a woven floral motif, alternated with a 4cm triple stripe with 2cm spacing between each stripe. Boat shaped neckline, with a .5cm rouleau tie on left side. Sleeveless. Draped and ruched 7cm band at hip line. Two tier, knife pleated panels to the hemline. Dropped and bloused bodice. Handkerchief hem. Wedding dress worn at marriage of Barbara Johnson to her second husband John Johnson on 26.1.1985.Stitches Plus Gold Label 12 Care Instructions – Wash separately. Do not soak. Do not bleach. Do not wring. Warm hand wash. Warm rinse well. Dry in shade. Warm iron. Dry cleanable. Polyester.costume, female ceremonial, wedding dress

Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Fringed plaid travel rug, brown, yellow and blue Onkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Collector says: "I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics. Maybe that's when this collection planted its seed in me - 40 years later I start my first blanket collection after stumbling across old Onkaparinga travel rugs. I would go to a vintage market in Collingwood every month and almost always found a good one, amassing enough for the entire household. Everyone had their favourite, even the cat had his own – a small red tartan one just for him."Collector's note- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. "Fringed travel rug, red, blue, green and blackOnkaparinga/washing instructions/use A.W.C. approved wool detergent/warm machine wash on short gentle cycle/or warm hand wash/DO NOT BLEACH/warm rinse well on gentle cycle/normal spin/DO NOT TUMBLE DRY/dry in shade - gently pull to shape/dry cleanable (A) - in emblems: The Woolmark pure new wool, Woven in Australia, F 472wool, blanket, blanket fever, travel rug, onkaparinga

Photograph: dry stone wall, Lester Street, Eaglehawk. Photo shows three men ( identified as W. Crawford, F. Fitzpatrick, C. Jacob - order not known ) Written on accompanying sheet ' erected by Simon Jame, no cement or mortar used.' Notes appended ' Dry Wall in Lester St. was erected by Simon Jame, no mortar or lime was used in construction and it is still straight and true. It was originally erected to enclose a garden.'cottage, miners, dry stone wall, crawford, w., firtzpatrick f., jacob c., eaglehawk

a.: Dry cleaning card - Brown Gouge with name entered as 'King' and Article entered as '? Repair' b.:envelope inscribed in pen:'From Mrs Joyce King Olinda St'organization, business, bendigo businesses

historic, miningColour photo, Mine holes and mounds in open field, dry grass, gum forest in valley below. Green Hill Diggings, Sandy's Hill Rd., Durham Leadmining, green hills, sandy's hill rd., durham lead

Black and white photograph with a thin white border depicting the Australian wharf: two horses, steam ship, two men one siting on a barrel. Across the Yarra river: docks and in the background, the Robur Tea House.Stamps: In purple ink: Herschell's Print, Pathe Agents / in blue ink: "384" Handwritten in black ink and in pencil: "6" australian-wharf, yarra-river, robur tea house, weller album

The Nestor was 14,501 tons vessel and traveled at 14 knots.Sepia photograph mounted onto a car which featured glued material flags. The ship is filled with soldiers sailing to the battlefields of World War One. Thousands of people stand on the Melbourne dock waving them off.Nestor Troopship sailed Oct 2nd 1916.world war one, troop ship, nestor, soldiers, mmm, vessel

Cream in colour, rectangular shaped holder with no matches. One side has a printed photo of an iron bridge, the other side has a printed photo of a jetty or dock. Both photos are framed with a pattern of red and yellow.Souvenir of San Remo (VIC)

Items in the collection re Clarence Shearing, refer Cat No 7089.16P for his service details.Photographs B & W various sizes. Some have been pasted onto cardboard based around Kure Japan. Eight have white text on front "Kure City" Six no text but presumably "Kure" Ten have Text on rear. Many show bombing damage to Kure.Apart from ten having "Kure" on as part of the description they have, cinema, station, street, bombed, city (2), docks (2), barracks, Womens YMCA.photographs, bcof, kure

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.Colour photograph of group of soldiers outside brick building." Officers form up ready to move on to Parade. Courses Camp Puckapunyal 1982. Hand-over parade Major GF Cole to Major IR Docking. " military, vmr, officers

Units conducted Adventure Training to build team values.Black and white photograph of soldiers on a raft made of jerry cans engaged in Adventure Training on Ovens River, December 1976.Sodiers from Administrative Troop 8/13Victorian Mounted Rifles..Adventure Training, S/Sgt. M.Miles,Lt Shefford, Sgt S. Berg, Major I Docking, Pte H Delaney, Pte M Clarke"

Normal WW2 and Korian War period, normal for this period and contains the bottles of sterilization tabletsThe Diggers Water Bottle had to be completly emptied then refilled with the water available, then the tablets added according to the instructions inside the lid. This enabled the Digger to drink his water in the surity that he would not pick up a problem from contaminated water that may have been his only liquid available. These tablets have been produced by science to keep the diggers in top fighting condition. Not rare but everybody both male and female (Nurses etc.) would be issued with this tin of tablets.7 by 3.5 by 2.5 mm tin. The lid is 2.5 mm deep painted black with white writing which says, STERILIZING OUTFIT FOR USE WITH WATER BOTTLES (Keep Dry)As Abovesterilizing outfit., ww2, new guinea, korian war, borneo, boganville etc., etc

Zinc ink well with five holes for pens. Central plastic (black) ink well with screw lid suspended in central hole in zinc frame (possibly Bakelite). Dried in in well.Front: Made in England/Velos/Trade Mark/Reg'd. Design/N8773399/No. 1219/improved non-spill (relief text, base of ink well).

There is a slight ridge ridge along the side where the wet clay has been pushed up between the bricks as they have been stacked. Wooden press moulds were used to form the brick and lead shaped markers were used to brand a frog in the brick. The frog is the hollow in the centre of the face of the brick. This centre helps the bricks to adhere in construction.A hand-made brick. There is a slight ridge along the top side where it has been pushed up between the bricks as they dried. The frog (hollow in the centre) is an unusual elliptical shape. brick building construction

Bendigo Advertiser "The way we were" from Saturday, April 17, 2004. Drought: pictured here is Jim Checcucci in the dry bed of Bendigo's Lake Weeroona in the drought of 1938newspaper, bendigo advertiser, the way we were