The financial ledger of the Adult Deaf and Dumb Society of Victoria contains financial details of the land and building at Flinders Street and Blackburn including furnishing and fittings, bank accounts, expenditure etcSignificant as a record of the financial position of the Adult Deaf and Dumb Society of Victoria.Green and Red Cover; 34cmHx 22cmW

Visitors Book of the Adult deaf and Dumb Society with no dates for early entries and a long list of names for 11 November 1956, the Olympic Games Opening. The last entry is in January 1959Brown Cover, 18cmHx23cmW

Marriage Register records the marriages at the Deaf Church Jolimont for the period 1969-1984Maroon Cover; 33.5cmHx25.5cmW

Closed Captioning for Australian Television a Discussion Paper prepared by the Australian Centre for Visual Television April 1980Cream Cover with black spiral binding, 26cmHx21cmW

VCOD is an advocacy / information community organisation, led and managed by Deaf People through provision of advocacy and information services to strengthen community participation and quality of life for Deaf VictoriansA4 Trifold Brochure

Vicdeaf papers relating to the funding of Medical Interpreters 1975-1985White A4 binder with Papers

This binders contains a collection of papers with information on a range of Deaf related subjects: Hearing Loss In Paget's Disease of Bone, Hearing Aids, Access Issues (for the Deaf), Hearing Aids and Mobile Phones, Audio-Psycho-Phonology, Medications used in treatment of Meniere's Disease, Perfect Pitch, Musicians earplugs and Monitors, etcWhite A4 Binder containing papers

Binder contains Applications for Funding from Deaf Clubs/Groups 2007-2012White A4 Binder with Papers

Binder contains newspaper cuttings from Melbourne Newspapers in 2003; subjects include welfare groups and charities, drugs White A4 Binder with Newspaper Cuttings

"The banner has been with the Club since it was created in 1957. Recent research has confirmed that it was made by Joan Eddy, the wife of club member Kevin Eddy and a professional seamstress. Grace Blake’s interview notes record her conversation with Mr Eddy on 24 October 2014: Kevin confirmed that the banner was made by his wife, Joan Eddy, in time for the opening of the new shed after the Olympics (1957). Kevin was the Social Secretary at the time, and co-opted his wife, who had worked as a machinist for Harford Clothing in Carlton before they married. Her mother had also worked there as a sewing hand (hand sewing the linings for jackets). The company was later taken over by Sires. ... It was made at home (Joan had ‘retired’ from work by then)." Excerpt from the 2014 Significance Assessment, p32.Banner Celebrating Albert Park Rowing Club Olympic Representatives, 1956 Statement of significance by Margaret Birtley, October 2014 Harry Gordon, the distinguished Australian sports historian, wrote of the 1956 Melbourne Olympic Games: "When the Olympic Games moved into Melbourne ... it was as if the city had been brushed by a certain magic. Nothing before or since ... has ever evoked such sheer emotional involvement from the whole community." Gordon refers to the large crowds that massed in Melbourne with anticipation and exhilaration on the day before the official opening, ‘with little apparent motive other than just to be there, and be happy’. The hand-crafted banner celebrating Albert Park Rowing Club’s representatives at those Olympic Games seems to exude that same sense of joy and exhilaration. Made by the wife of the club’s social secretary, it testifies to the admiration felt by individuals and organisations for the success of their own on a world stage. The banner has historic significance for its accurate documentation of the great achievement of a single rowing club in contributing six outstanding athletes to the relatively small Australian rowing team. Additional historic significance derives from the fact that this is an unofficial expression of tribute and pride. The banner’s incorporation of the Olympic rings would now be likely to require licensing by the Australian Olympic Committee, a process that can dampen social engagement. While definitely a hand-made item, there is some aesthetic significance in the design and execution of the banner. Good judgement has been demonstrated in the selection of fabrics and the choice of colours. The workmanship is quite skilful. The vertical symmetry and the horizontal balance of the design are pleasing to the eye. The use of red for the heading lines and black for the Olympians names is well-chosen and aesthetically pleasing. The collection holds black and white photographs of the same oarsmen at the Olympic regatta. This banner complements their role in the collection by providing colour and a sense of connection with an affectionate and supportive community. Its social significance transcends the local context for which it was created and used, to become part of the large body of art, craft and memorabilia that are associated with the Olympic movement worldwide. A handmade embroidered banner to commemorate the Albert Park members who were part of the 1956 Olympic Rowing team.A.P.R.C. / REPRESENTATIVES OLYMPIC GAMES MELBOURNE 1956 / R. DUNCAN / R. DICKSON / K. McMAHON / R. LIBBIS / I. ALLEN / J COCKBILL coxrowing, apsm rowing club, olympic games, albert park rowing club, albert park lake, duncan, robert, dickson, bruce, allen, ian, libbis, reg, mcmahon, kevin, cockbill, john

p.284.fictionIt is the story of a little American girl, Bud, who has lost her parents and comes to stay with her relatives in a small Scottish town (clearly based on Inveraray). She progresses, thanks to her enlightened but only semi-liberated Aunt Ailie, to become a Shakespearean actress in London's West End - in spite of the negativity of the Scottish education system and the background of social and religious attitudes which regarded the theatre as unsuitable and rather sinful. It is especially interesting because it confronts the problem of the female creative artist in a society whose mores inhibit the expression of her talent.england - fiction, feminism

Bob (Herman) Hymans (a former member of the Royal Netherlands Navy) was born in Bloemendaal, Holland on 30th September 1922. During World War II he fought against the Japanese in the Dutch East Indies (now Indonesia) and was imprisoned in Changi and on the Burma Railway. After gaining qualifications as a Ski Instructor, Bob arrived in Falls Creek in July 1950. Working as an Instructor and Supervisor at Bogong Lodge, Bob decided his future was in accommodation. He was successful in negotiating an indenture for land from the State Electricity Commission (SEC). It took Bob two years to build his Grand Coeur Chalet but, tragically, it was burned down in August 1961. Bob also built the first Chairlift in Australia. This was a single chairlift and the structure was built from wooden electricity poles. He was constantly full of new ideas and proposals for the village. Bob Hymans die on 7th July 2007. This Collection of documents and letters tells the story of Bob's endeavours to develop Falls Creek into the ski village it is today.This letter is significant because it reflects the relationship between Bob Hymans and the Management Committee.A letter from the Management Committee expressing sympathy for the loss of Grand Coeur Chalet by fire. They also request to be informed of Mr Hymans' intentions regarding rebuilding.falls creek tourist area management committee, grand coeur chalet

non-fictionThis booklet tells the story of Baranduda State School 2222 and was produced to celebrate its centenary. It also includes information about the history of the district and some of its pioneer families. Baranduda pastoral run was taken up in 1845 and it is thought that the name was derived from an Aboriginal expression relating to a swamp or a water rat. A few kilometres south-west there is the beginning of the Baranduda Range, of which the summit is Mount Baranduda. Baranduda was a rural hamlet with numerous German farm selectors, who came from South Australia. Beginning with the grazing of cattle and later dairying and sawmilling were added, serving markets in Wodonga and providing timber sleepers for railway construction. The primary school was opened in 1880.baranduda state school, education victoria, community history baranduda

p.314.Tolstoy's first published novel and the beginning of his Autobiographical Trilogy. Written when he was just twenty-three years old and stationed at a remote army outpost in the Caucasus Mountains, Childhood won Leo Tolstoy immediate fame and critical praise years before works like War and Peace and Anna Karenina would bring him to the forefront of Russian literature. It is the story of the ten-year-old son of a wealthy Russian landowner in the mid-1800s, as told by the child himself. Not a mere chronicle of events and characters, the novel is an intense study of the boy's inner life and his reactions to the world around him. With an intricacy of thought and substance, Tolstoy describes the everyday thoughts of a child-innocent and mischievous, bold and afraid, and curious above all. Childhood, followed by Boyhood and Youth, is the first part of Tolstoy's semiautobiographical series, originally planned as a quartet tentatively called the "Four Epochs of Growth." The completed works together form a remarkable expression of the great Russian novelist's early voice and vision, which would ultimately make him one of the most renowned and revered authors in literary history. rusian fiction, leo tolstoy 1828-1910

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.