Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. These boxes were designed to be reused, with a pop out section in the base.2 x metal coin collection tins with printed sidesFront: The Royal Victorian Institute for the Blind St Kilda Road The only Institute in Victoria for teaching blind adults trades & professions educating & maintaining blind children & babies (Lighthouse with words radiating out from light) Modern cottage homes Pensions - after care & sick fund Prevention of blindness lectures, etc. Free wireless radio for needy cases Boat shed & club house Professions & trades Blind babies nursery Wireless sets Social club Happiness for the blind every day & night Musical education Higher education Domestic science classes for blind women & girls A free education Maintenance of blind children The Lighthouse! As a thanksgiving for sight Please place a coin in this box and help to keep the Beacon Light flashing for the Institute's Blind Adults, Babies and Children Side: (Picture of two girls playing with dolls house) Our blind babies and pupils will probably spend 70 years in our Royal Victorian Institute for the Blind St Kilda Road As a thanksgiving for sight please help make their years very happy ones by placing a coin in this box! Reverse front: (Drawing of a man holding his hand to his eyes as a blast occurs in front of him, pushing small objects towards his body.) It might hit You or Me! Please! Will You? As a thanksgiving for the sight you and your dear ones possess, please place a coin in this box to assist the Royal Victorian Institute for the Blind, St Kilda Road, and its Blind Adults, Children and Babies! Reverse side: (picture of workshop at RVIB) One of our many spacious workshops provided by public subscription! The Royal Victorian Institute for the Blind is faced with the problem of employing and otherwise assisting its blind workers. It gives them charitable allowances in addition to their earnings, amounting to approximately 15,000 (pounds) every year, to enable them to support their wives and families! No profits can therefore be made! This 15,000 (pounds) is distributed because the great handicap of blindness prevents blind persons from earning as much as their more fortunate sighted fellows. Please! Ask Storekeepers for our Baskets, Mats, Brooms, etc. And as a thanksgiving for Your Sight place a coin in this box for our blind adults, children and babies! Embossed on the top of the box is Royal Victorian Institute for the Blindfundraising, royal victorian institute for the blind

Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the boxes were placed in a semi-permanent location, such as a shop counter or bar, for people to donate money. Periodically it would be emptied by a collector, who either unlocked the padlock that was usually attached or replaced it with a new box.2 wooden boxes with paper label, perspex or glass,metal hinges and locking mechanism.Blind Babies, Children & Adults Royal Victorian Institute for the Blind Phone 51 1381 All services provided by the RVIB are free - thanks to your helproyal victorian institute for the blind, fundraising

Coin collections have a long and varied history. Coins were often collected in churches in a box located near the entrance/exit, and later via a collection plate that was passed amongst the congregation Funds were used to repair the church or feed the poorest of the parish. The donation of coins is and was considered part of religious life and mentioned in Christian, Jewish and Islamic texts. With the need and expansion of charitable works occurring outside religious life, charity boxes began to spread into hospitals, orphanages and asylums. The need for non-fixed boxes grew with the rise in charities and their activities outside a fixed building. Collection boxes could be large (and therefore hard to move) or could be held by individuals acting as collection agents, working at a specific location, moving between dwellings or at events. In this example, the boxes were placed in a semi-permanent location, such as a shop counter or bar, for people to donate money. Periodically it would be emptied by a collector, who either unlocked the padlock that was usually attached or replaced it with a new box.2 wooden boxes with paper label, perspex or glass,metal hinges and locking mechanism.Blind Babies, Children & Adults Royal Victorian Institute for the Blind Phone 51 1381 All services provided by the RVIB are free - thanks to your helproyal victorian institute for the blind, fundraising

Norman Keith HOFMAIER (12.08.1951- ) Born Beulah, Wimmera, Victoria Norman Hofmaier was a scion of a well-known family, he completed his secondary education at Hopetoun High School and Ballarat College. Later he studied Visual Art at University of Ballarat, including painting, design and sculpture. Hofmaier’s childhood in Beulah was spent on the family property running beside the Yarriambiack Creek. Both he and his father had an intimate knowledge of the flora and fauna of the Mallee. The Wyperfeld National Park, home to the Big Desert, was a favourite place for Norman’s uncle who planted acres of native trees at the family property. Dr Di Bresciani explains: “The colours and vastness of the Mallee are represented in many works which reflect, variously, the relentless quiet and swirling energies found in the ‘dust storm might’ of the Mallee area. Most works may be described as abstract, lyrical abstract or abstract expressionist." From the 1970s until the 1990s he began an outpouring of work, using oil-based paints overlaid manually on large, specially-prepared boards using brushes, cloths, sponges, sprays or rollers. Petrol solvents were used to soften, blur and enhance shapes and edges. His work reflected his exploration of his inner state, sometimes flowing and placid, sometimes tempestuous. After a brief sojourn into city-life Norman returned to working in the country, until finally submitting to mental illness and permanent care in the mid 1990s. Norman Hofmaier's works are represented in major collections including that of the well- known artist Mitch Pearson ( an important influence and lifelong friend). The work 'Pastel of a Nude' was shown in a widely distributed magazine and two works owned by Mark Shannon were planned to be published as record covers in 1993. He won an award during the bicentennial recognising his skill as a Wimmera artist. From the 1970s until the 1990s he began an outpouring of work, using oil-based paints overlaid manually on large, specially-prepared boards using brushes, cloths, sponges, sprays or rollers. Petrol solvents were used to soften, blur and enhance shapes and edges. This work was purchased from the exhibition 'Norman Hofmaier: Mallee Mysteries' at the Lost Ones Gallery in Camp Street, Ballarat. The exhibition explored the legacy of Hofmaier’s work as well as raising money for the Ballarat Art Foundation. The Hofmaier family donated 16 works of the artist to be sold to raise funds for the foundation, to support emerging artists.Original painting in square format, featuring abstract swirls of blue, white, red, yellow and green.On back of work: 1. pools of diluted oil paint covering approximately 8 cm from each edge, 2. in right hand corner in permanent marker "N Hofmaier" 3. middle right hand side, torn exhibition label, with the words, "Belauh", "Local Art", "Prome", "Local Art", "$350", "Collect A", "oin" 4. Bottom right corner, two exhibition labels on card. Cards read: The flowing of movement before any known bodies are formed. Matter and gases bubble forming kaleidoscopic colours and shapes. Promethius 1 Oil based pigment with petrol on prepared board 1320 x 1210 mm On front of work, bottom right hand corner, in white lettering, N Hofmaier. Bottom right hand olive green frame damaged on front of work.painter, mallee, beluah, norman hofmaier, wimmera, abstract, alumni

Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of a woman with hair braids.graeme drendel, printmaking

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. A etching of two men carrying a mattress.graeme drendel, printmaking, mattress

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sanson who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which often inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. This work is one of a substantial body of limited edition prints donated by the artist to Federation University in 2022 covering work from Graeme Drendel's earliest years as a student, through to more recent etchings. An etching of a pool and surrounding objects such as chairs and towels. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

p.564.fictionA Gripping Romance in a Natural Setting "To my way of thinking and working, the greatest service a piece of fiction can do any reader is to leave him with a higher ideal of life than he had when he began. If in one small degree it shows him where he can be...gentler, saner, cleaner, kindlier...it is a wonder-working book. If it opens his eyes to one beauty in nature he never saw for himself and leads him one step toward the God of the Universe, it is a beneficial book..."america - fiction, romantic fiction

The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). John Gates began working at the Truganina Explosives Reserve handling explosives at the magazines in 1946. He was appointed assistant manager in 1956. When the site closed in 1962 he was retrained and worked at the Births, Deaths and Marriages offices. In this interview he and his step-daughter, Sue King, talk of life in Altona, life on the Explosives Reserve and some of the people who worked there. A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018hobsons bay city council, pier street altona, alma doepel, explosives, lighters, gates court altona meadows, christmas picnic

Slide photograph of a girl studying at a desk in a bedroom. Believed in Stanhope from the label. Several photos appear to have been taken at the same time and some are are marked 4, 11, 12, 13 (see items 02509 - 02516). Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of a girl studying at a desk in Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen and 11 in to right corner.stanhope, residences, study

Slide photograph of two girls in bedroom. Believed in Stanhope from the label. Several photos are marked 4, 11, 12, 13, and were taken at the same time (see items 02509 - 02516) Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of two girls in their bedroom in Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen and 12 in top right corner.stanhope, residences, bedroom

Slide photograph of the lounge with nine girls watching a television set. Believed in Stanhope from the label. Several photos appear to have been taken at the same time and some are are marked 4, 11, 12, 13 (see items 02509 - 02516). Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of nine girls in the TV lounge in Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen and 13 in top right corner.stanhope, residences, lounge

Slide photograph of two girls studying at their desks in a bedroom. Believed in Stanhope from the label. Several photos appear to have been taken at the same time and some are are marked 4, 11, 12, 13 (see items 02509 - 02516). Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of a girl studying at a desk in Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in blue pen.stanhope, residences, study

Slide photograph of two girls playing table tennis in the recreation room. Believed in Stanhope from the label. Several photos are marked 4, 11, 12, 13, and were taken at the same time (see items 02513 - 02516) Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of two girls playing table tennis while two others watch at Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen.stanhope, residences, tabletennis

Slide photograph of the dining room with wooden chairs and tables and a fireplace and ornate doorframes. Believed in Stanhope from the label. Several photos are marked 4, 11, 12, 13, and were taken at the same time (see items 02513 - 02516) Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of the dining room at Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen and '3' in pencil bottom left.stanhope, residences, dining

Slide photograph of a girl studying at a desk in a bedroom. Believed in Stanhope from the label. Several photos appear to have been taken at the same time and some are are marked 4, 11, 12, 13 (see items 02509 - 02517). Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of a girl studying at a desk in Stanhope, in a grey Hanimount mount.Handwritten on front 'Stanhope' in black pen and 4 in bottom left corner.stanhope, residences, study

Slide photograph of girls studying at desks in a study. Believed in Stanhope from the label. Other photos appear to have been taken at the same time and are marked 14, 15, 16 (see items 02520 - 02522). Black and white hardcopy photos of these slides are at 01835. Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of a girl studying at a desk in Stanhope, in a red and yellow Kodak logo mount.Handwritten on front 'Stanhope' in blue pen and imprinted 14 in top left corner.stanhope, residences, study

Slide photograph of girls studying at desks in the Stanhope study. Other photos appear to have been taken at the same time and are marked 14, 15, 16 (see items 02520 - 02522). Black and white hardcopy photos of these slides are at 01835, saying it was 1962 and gave the girls names. The photo of the study room is surrounded by the names: Denise Attewell, Susan Knowles, June S., Jill Baker, Colleen, Jacky and Sandra. Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of girl studying at desks in Stanhope, in a red and yellow Kodak logo mount.Handwritten on front 'Stanhope' in blue pen and imprinted 15 in top left corner.stanhope, residences, study

Slide photograph of girls studying at desks in the Stanhope study. Other photos appear to have been taken at the same time and are marked 14, 15, 16 (see items 02520 - 02522). Black and white hardcopy photos of these slides are at 01835, saying it was 1962 and gave the girls names. The photo is captioned 'Packing for the holidays' and has the names: Lynn Hall, Jacky Mooney? and Jane Reed. Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Stanhope generally looked after girls over 14 either studying or working. The children were cared for until they were old enough to become independent. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of life for the residents of Stanhope.Colour slide of three girls packing their bags in a bedroom in Stanhope, in a red and yellow Kodak logo mount.Imprinted 16 in top left corner.stanhope, residences, study

Martha Watson was born on 17 October 1888 in Ballarat, Victoria, Australia as the first child of Robina (Ruby) WATSON. She died on 23 March 1976 in Geelong, Victoria, Australia. Memories of Martha by Valcia nee Twigg Lowrie, granddaughter of Arthur Watson. My memories and recollections as told to me my Grandmother ‘Mum’ Myers. As a child she had scarlet fever and did not attend school during the illness and missed a lot of school (Macarthur Street State School). When she was meant to return to school having fallen behind her classmates, confused and behind with the school work, she instead spent her time wandering around Lake Wendouree feeling too ashamed to attend school. Her uncle Arthur, born in 1874, whom she idealized, was a type of father/mentor figure who played and important part in her early life. He moved to Queensland in the early 1900’s and they did not meet again until he visited Melton in 1949, he died in 1954. He was a champion rower in Victoria and Queensland and a noted cyclist who rode in three Warrnambool to Melbourne races, and footballer. Her mother’s death certificate reveals her place of death as the Ballarat Hospital on 8th September 1903 aged 36. Martha was not told of the death of her mother, it was some time later when she found out her mother had died. She was greatly distressed when she eventually found out. The grief and the circumstance of her mothers death and her unfortunate life had a permanent effect on Martha’s life. Robina was buried in Open Ground at the New Cemetery Ballarat. Marjorie likened to this to the death of Mozart at the age of 35 who was also buried in a common grave. Martha also told me the stories about how as a child she played at the cemetery, taking the oranges placed as offerings on the Chinese graves and being chased away in fright when caught by a Chinese man. Her description left a vivid impression on my mind. The Burnbank street house was just across the road from the cemetery. The pieces of this story I had heard made sense when I visited the location in recent years. Martha’s described how Nanna would sing on the front verandah, and send her off to t get drink for her. This situation might help explain the reason for Martha’s strong aversion to alcohol. As a young girl it had been distressing to her. Nanna was a colourful and theatrical personality and danced with the Duke when he visited Ballarat. She was also known to have stated that she would marry a man who could give her a bucket of gold, possibly around the time after her first husband, Charles death, she had her young boy Edward to bring up. Martha was about 13 years old when Nanna Watson left Ballarat going to Queensland to visit her son Arthur. Martha slept that night afraid and alone in the empty house. The person who was meant to collect her did not come until the next day. She went to work for a family, a woman with children, they took most of the money that Nanna had left with Martha. There was a new baby in the house and the Scottish man in the house behaved suspiciously towards Martha. She was afraid of him and would hide from him under the bed. At this young age she managed to survive on her wits and sense of self preservation. It is not known how long she worked with this family. The place was from my impression, away from the town of Ballarat. Her very difficult formative years are testament to her strength of character and determination to succeed in life and ambition to provide the best opportunities for her own children. In 1905 Martha received a post card from Uncle Arthur in Brisbane addressed – c/o Mrs Styles 14 High Street Ballarat. Dolly Styles was a Ballarat friend and she kept in contact with her for many years. A letter reveals her living in Minyip in her older years. Martha is thought to have spent a few years working before she arrived in Melton. Miss Shebler hired Martha to help her in the care of her father and to assist with work in the Golden Fleece Hotel. Mr Shebler was a nice old man and mostly confined to his room and somewhat childlike as described by Martha. [The elderly Mr August Shebler died in February 1908]. Martha’s exact arrival in Melton is not known, but could be estimated as late 1906 to early 1907. In her room at the hotel she could hear the spring cart of Mr Minns going on the milk delivery rounds in the very early hours of the morning after coming across the creek from his house When she was 19, she married Frederick Thomas MYERS, son of Henri MIERS and Ann DOWLING, on 30 April 1908 ( Fitzroy, Victoria, Australia). Frederick Thomas MYERS and Martha Mary WATSON had the following children: 1. Frederick John Watson MYERS was born on 01 October 1908 in Melton, Victoria, Australia.He died on 07 February 2001.He married Mary June BATTYE on 18 September 1948 in Victoria, Australia. 2. Marjorie Gretchen MYERS was born on 21 February 1912 in Melton, Victoria, Australia.She died on 10 September 2004 in Frankston, Victoria, Australia.She married Herbert Vivian BUTLER on 07 January 1939 in Victoria, Australia. 3. Eva Edna MYERS was born on 15 October 1918 in Melton, Victoria, Australia.She died on 31 January 2008 in Bacchus Marsh, Victoria, Australia.She married Ernest Wesley BARRIE on 25 October 1941 in Melton, Victoria, Australia. 4. Arthur Bruce MYERS was born on 29 April 1925 in Melton, Victoria, Australia.He died on 26 March 2015 in Melbourne, Victoria, Australia.He married Olive Irene NORTON in April 1953 in Balliang, Victoria, Australia (or Church of Christ Footscray? (WB)). 5. Maxwell Douglas MYERS was born on 10 August 1927 in Melton, Victoria, Australia.He died on 03 May 2005 in Geelong, Victoria, Australia.He married Rosemary Rebecca BARRIE on 31 August 1951 in Melton, Victoria, Australia. Valcia nee Twigg Lowrie granddaughter of Arthur Watson, daughter of Mercia and Val Twigg did extensive research on the Marshall family of Lerwick Shetland Isle obtaining birth information of the Scottish forebears. She also got the birth/marriage and death certificates of the Ballarat connection of Robina’s husbands and children. Copies were sent to Edna and Wendy during the early 1990’s. Bruce and Irene also obtained certificates and Myers family information. Wendy applied for certificates at this time.Photographs of Martha (Watson) Myers taken at different times of her life

Button distributed to and worn by Australian Nursing Federation (ANF) members working in emergency departments. The Royal Australian Nursing Federation became the Australian Nursing Federation (ANF) in 1989, and then became the Australian Nursing and Midwifery Federation in 2013, suggesting this badge is from the 1990s or early 2000s.Circular green and red plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'EMERGENCY NURSES', 'Fighting For Your Life' and 'Australian Nursing Federation Victorian Branch'.nursing, emergency department, hospital, accident and emergency, nurses, emergency nurses, badges, buttons, pins, trade unions, labour history, patient care, australian nursing federation, victoria

Small grey paperback book, with the title The Great Unknown printed in black lettering on the front cover with a decorative symbol. Underneath is, These narratives are true stories of my own life in the Australian Bush, 1888 - 1897. The author, L.O. Dowker Price One Shilling. The author writes about his life in the Australian Bush and working with station men and aboriginal people. There are a few black and white full page illustrations. 79p.non-fictionTrue narratives of the author's life in the Australian bush 1886 - 1897. The author tells of leaving England by sailing ship, and his life settling in Australia. He spent some time working with station men and aboriginals.australian bush, aboriginal peoples, bush stories australia

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Left to Right: Fireman Bert Cadman, Driver Wally Riley, Guard Hugh Fraser. Locomotive S300 - the ‘Matthew Flinders’ The S class diesel locomotives were built by Clyde Engineering in 1957 for the Victorian Railways. Designed as premier express passenger diesels, they assumed the ‘S class’ title from a fleet of steam locomotives. They were also given names of famous Australians. The S300 took the name ‘Matthew Flinders’. In 1962, S300 was converted from the Victorian broad gauge of 5’3” to the New South Wales gauge of 4’8.5”, in order to operate the new Southern Aurora between Sydney & Melbourne. As the locomotive grew older it was removed from these duties and was sold to Chicago Freight Car Leasing Australia (CFCLA) in 2004. It is now owned by a private owner and is on loan to the Canberra Railway Museum.railways wodonga, fred rochow, wodonga railwaymen, s class locomotive

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. An image of two men operating a chaff cutter which is drawn by horses. The men are believed to be Fred and Harry Klinge, working at their shed on the Klinge property, "The Laurels". wodonga pioneers, haeusler family, glass negatives, dry plate photography

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. A man with a team of four horses and equipment working in a paddock. A second man is working in the background. wodonga pioneers, haeusler family, glass negatives, dry plate photography, agricultural work

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. Parker Family - Samuel Skelton Parker, Jack Parker’s father, migrated to Australia from Ballymena, Country Antrim, Ireland in 1884. He married Bridget Cusack from County Clare in 1883. They had children William, James, Jack, Samuel and Rachel. After working on a station in northern NSW, they moved to Barnawartha and set up a butchery and later a bakery. In 1890 the family moved to Wodonga, buying a property in West Wodonga, which he called “Park Hall” after his home in Ireland. The property is now the location of the Wodonga Golf Club in Parkers Road, West Wodonga.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. Jack Parker and his pony in the centre front of the image. Jack taught this pony to perform several tricks. The Parker family home and some outbuildings are visible in the background. This is a substantial brick house with corrugated iron roof.wodonga pioneers, haeusler family, glass negatives, dry plate photography, parker family wodonga

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. 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. Parker Family - Samuel Skelton Parker, Jack Parker’s father, migrated to Australia from Ballymena, Country Antrim, Ireland in 1884. He married Bridget Cusack from County Clare in 1883. They had children William, James, Jack, Samuel and Rachel. After working on a station in northern NSW, they moved to Barnawartha and set up a butchery and later a bakery. In 1890 the family moved to Wodonga, buying a property in West Wodonga, which he called “Park Hall” after his home in Ireland. The property is now the location of the Wodonga Golf Club in Parkers Road, West Wodonga.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. Two men in front of a haystack, working on the Parker family farm in Wodonga West. C. 1910wodonga pioneers, haeusler family, glass negatives, dry plate photography, parkers wodonga