This set of magazines is a vital tool for those researching the early days and later development of ATCV and CVA. It was modelled loosely on the magazine "Conserver" of the British Trust for Conservation Volunteers (BTCV). Issues become more sophisticated in format over time and each includes news, project reports, lists of upcoming projects, and stories. The editor for 62 issues was Mr Alf Bailey (staff 1987-current (2010)who edited the Conservator from Mar 1987 to mid-2006.Alf was a former high school principal and set a high standard. Since 2006 a more compact and economical newsletter "Conservation Volunteer" has been mailed to CVA and CVNZ members and is also downloadable from the CVA website.This set of magazines is significant because it is the most comprehensive record of all aspects of the establishment, growth, expansion, and nature of ATCV/CVA and its activities. It reveals the change from a local charity to a nation-wide corporate structure engaging thousands of volunteers tackling hundreds of projects a year in Australia and New Zealand in the present day.This was the final issue of a magazine produced by ATCV/CVA from 1982-2006 (c. 90 issues). This issue was a high quality, profusely illustrated colour magazine, representing a quantum leap in professionalism from the earliest photocopied editions. magazine, conservator, conservation, volunteer, promotion, alf, bailey

Located near the NSW border in the far east of Victoria, the Bendoc school served the needs of a rural population which opened the land to grazing at the turn of the century. It opened on September 8 1896. In December 1956 falling attendances forced the Education Department to close it. It is interesting to note that children here sought their secondary education in NSW. The first head teacher) was John M. Cass and the last R R King. In 1953-54 Lower Bendoc operated part-time with Goongerah. In 1955 it regained full-time status, but in 1956 worked part-time with Tubbut. Author, Dorothy Hepburn, attended Bendoc State School.This is a useful reference tool on the history of Bendoc.A spiral bound book with a plastic sheet front. The cover is white with black print and a b/w photo of a man sitting on a wooden chair outside a log building . Underneath is written "FROM HUMBLE BEGINNINGS TO FINAL CLOSURE".bendoc-state-school

Yellow plastic folder containing submissions for the Eaglehawk Dahlia & Arts Festival 1985 Literary competition 'Apollo Award '309 entries received / 19 selected for final judging on 19.2.1985 ten poems listed in order of meriteaglehawk, history, event, the eaglehawk dahlia & arts festival 1985 literary competition 'apolo award

SHEEAN FRAN COLLECTION: Final Report to Victorian Minister for the Arts and to the City of Bendigo,Borough of Eaglehawk and Shires of Huntly, Marong and Strathfieldsaye on proposals to establish a Community Arts Centre for the Bendigo sub-region (25 March 1986)bendigo, history

Document. Envelope contains: - Cert. of Inspection of Boiler, Receipt for Treasury Bonds, Bendigo Sewerage Authority + Final Certificate, War Damage Commission Receipt lease, Agreement with Monument Hill Consolidated. Central Deborah Gold Mine.McColl, Rankin & Stanistreetorganization, business, gold mine, mccoll, rankin & stanistreet, central deborah gmc nl, gold mining, boiler inspection cert. treasury bonds receipt, bendigo sewerage authority

Black and white photograph taken at squash final 1996 showing unidentified female with two awards. Also another black and white photograph of three women at awards night, identified is Melanie Barling, Lakes Entrance, Victoriasports, squash

Photos in the collection relating to R.G. Bennetts No. 119452 & A36088, R.R. Bennetts No. A312177 RAAF. Refer to Cat. No. 560.3.1) Photo, black & white, group of 20 Australian Rules footballers, 86 Sqd RAAF. On rear in pen are all their names. .2) Photo, black & white, group of 23 Rugby League footballers, 86 Sqd RAAF. On rear in pen are all their names. .3) Photo, black & white, RAAF parade, band & aeroplanes in background..1) In black pen: "Runners Up Grand Final 29.7.45" .2) In black pen: "86 SQD Rugby League Football team 1945 Runners Up".raaf, photographs

ENTERTAINMENT AND SOCIAL EVENTS The Ladies of the Harbour Lights Guild played a central role in everyday functions of the Mission to Seafarers. Concerts and social events were held nightly all the year round, as were special events on Cup Day, the King and Queen’s Birthdays, Christmas Day, Boxing Day and New Years Eve. Ladies of the Guild and other friends of the Mission contributed greatly to the organisation of such occasions, which provided great comfort to seafarers so far removed from home and their loved ones. As one seafarer remarked: “Ah miss, it is not so much the concerts and picnics that does us men so good, but that you ladies will come and talk to us”. This window, titled ‘Hope’, was installed in 1933 in memoriam of one of the founders and long- standing members of the Guild, Miss Alice Tracey, who passed away in 1932. She is remembered as a much- loved leader and key member of LHLG.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Alice Sibthorpe Tracy, a photograph of ladies pin the kitchen in the Flinders Street building, and seamen dressed up during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Volunteers preparing meals for a social event, circa 1950s BELOW: Seafarers dressed for the "final heat"of the costume race at the 1926 Christmas Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, alice sibthorpe tracy, social events, kitchen, lhlg, picnic, fancy dress, seamen, sailors, catherine mclay, arthouse

Emerald Football Club won the Premiership in 1983 against Powelltown.The photograph records a significant even in the history of the Emerald Football Club.B/W photograph of several footballers grappling for the ball, near the oval boundary. A dozen or so spectator clearly visible in the background.Rear (handwritten): "1983" (top right corner) "Peter Rush - No. 18 front left" "Emerald Football Club playing Powelltown" "Grand Final - Emerald won"emerald football club, powelltown football club

This report is a re-evaluation of the Historical Survey: Shire of Stawell as undertaken by the Stawell and Halls Gap Historical Societies in June 1990.Yellow Card cover with black print and black plastic bindingFinal Document Prepared for the Shire of Stawell and Heritage Victoria Shire of Stawell Study of Selected Heritage Sites Prepared by Tom Hutchison and Denise Thornson November 1994stawell heritage

The Chinese on the Bendigo Goldfields, 46 pages of the history of the Chinese on the Bendigo Goldfields from their arrival in 1854 - 1860 by Janette M Bomford Final year honours thesis Bachelor of Arts Degree, Department of History, University of Melbourne. Softcover.Janette M Bomfordchinese, bendigo goldfields, bendigo - history - chinese - goldfields.

Bendigo Advertiser "The way we were" from 1999. Final resting place: the Sandhurst cemetery in Bridge Street, Sandhurst, circa 1880s. NOTE: Photo incorrectly labelled. This chapel is at the Back Creek Cemetery in Carpenter Street Bendigo.newspaper, bendigo advertiser, the way we were

Vol V, p. 1-284 ; Vol. VI, p. 1-282. Title page and final pages missing, contents page lists stories in Vol. VI only. Bound in calico which is printed with product advertisements.fictionShort stories by various authors, including the editor John Mackay Wilson. scottish folklore, short stories, fiction, john mackay wilson, t. craig [bookbinder]

This glass ginger beer bottle was manufactured and used early to late 1900's, until the time that cheaper containers were invented(plastic bottles). This bottle was so constructed to be easily moved within the ginger beer processing plants from the brewing vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1990s the bottle slowly became phased out of production however boutique suppliers still preferred thick glass to contain any explosive action. Two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co. were the main suppliers for the Victorian State. In the period when this bottle was manufactured and used the major ginger beer brewing plants for the whole of Victoria were located in Melbourne because this was where its greatest consumer base was there and most rural areas were supplied by domestic sources (mother brewing ginger beer for the children). The Kiewa Valley and its region was one rural area which until road invrastructure was enhance covered the ginger beer thirst by local family production. As the population expanded considerably in the late 1940's (SECV Hydro Scheme) with a greater demand for "soft" drinks" being established supplies from larger towns and cities were call for. Each bottle was "branded" during manufacturing to show the contents were from a reputable supplier (H Taylor) and where it originated from. These bottles were recyled by the manufacturer as a way to cut production costs. This method of recycling the bottles back to the specific manufacturer has (except for South Australia)been overtaken by a no cost recycling collection by councils (funded by their communities). This method by passes the user cost principle as the bottles are processed as non generic. The uneconomical "on cost" which was replaced by the "throw away" less costly plastic containers however did not provide the keen domestic brewer of the "beer" with a reusable bottle. This heavy gauged glass ginger beer bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the filling production line. The method of pouring ginger beer into the bottle has been part of the "production line". This bottle has a one and a half pint capacity and is made from "light green" coloured glass(a protection against light penetration). This thick glass bottle, to contain ginger beer, required its thickness because of the extensive handling (man and machine) before final consumption. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck. Ginger beer was a "soft drink" of great demand. On the middle portion of this bottle is a large elongated circle within it and following the spherical line is "H. TAYLOR" ans a star separates this from "MELBOURNE" rounding out the bottom curviture. Within these words are the large initials "T H" . The "T" superimposed onto the "H". On the base and covering the whole bottom is the letter "T". At the opposite side to the manufacturers logo is "THIS BOTTLE CANNOT BE SOLD OR USED BY ANY OTHER PERSON & IS NOT COMPLETE WITHOUT STOPPER" glass bottle, non alcoholic drink, taylor ginger beer bottle, reuseable bottles

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Small article on the Regional Vision Impaired Finals which were held at the Glen Waverley Bowls Club on the 17th and the State finals on the 24th of May 2002.1 double sided page folded in halfnon-fictionelizabeth maxwell, neil maxwell, blind bowls victoria

Yellow laminated card with three photos and a typed report on the Saturday Morning 'B' Division Grand Final. The first photo is a photo of Clarice Cowling with bursary recipients Hannah Blythe and Tim Tremain. The second is a photo of Joseph Camilleri on a ski board at Arakoon enjoying some water activity. The third is a photo of Carryn Wallis with the corks she got while competing in the cork scramble. The typed result of the Saturday Morning cricket - 'B' Division Grand Final where Laurel Street defeated White Hills. Mention is also made of the presentation night.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, clarice cowling, hannah blythe, tim tremain, victoria league for commonwealth friendship, joseph camilleri, arakoon, advertiser, peter hyett, carryn wallis, travis breheny, scott ellerton, matthew hubber, xenophan alexandrou, nick mccauley, ben rodda, john mccorkelle, robin breheny, gary & val ilinck

Schuss was advertised as Victoria’s Official Ski Journal It was issued monthly from 1935 to 1961 except during the war when summer issues covered two months. This continued after the war, but it averaged 10 issues annually over its 25 year life. Schuss was published by the Ski Club of Victoria which had a membership of 38 Ski Clubs and demanded to be recognised as the prime authority on skiing in the state. The other 30 ski clubs with 85% of the members disagreed and the politics of skiing became heated. These clubs formed the Federation of Victorian Ski Clubs with their own journal, Ski Horizon. With the establishment of the Victorian Ski Association, Ski-Horizon published its last issue in Nov - Dec. 1955 and the role of the official journal was fully taken over by “Schuss”. This item is significant because it contains stories, images and information documenting the development of the ski facilities at Falls Creek.This was the Final Issue of Schuss. The cover featured a photo of Marie Davis (Downhill Winner) helping Rickie Laycock (Slalom Winner) with his crash helmet before the start of the 1960 intermediate championships. An article on Page 53 explained whilst this was the final issue of Schuss, the initial issue of SKI Australia incorporating "Schuss" was going to press and was expected to be available in the last week of April. Page 55 reported on progress on new facilities at Falls Creek whilst pages 65 - 67 featured an extensive article "Training for Cross-Country" written by Dick Walpole.schuss journal, siggi haberzetti, dick walpole, , ski australia journal

Sepia photographMatch was against Heathmont in 1958. Division 8, Section 5, Round 13. Score card shows players names and the final scores- Ringwood 54, Heathmont 4.

A photo of Legatee George Knocks from his time in the Royal Navy. George Knocks was born in the UK and joined the Royal Navy in World War 1. He later migrated to Australia and joined Legacy in 1929 until his death in 1945, he left a significant bequest to Melbourne Legacy which was used to help many people. Information from a press release in 1975 relates the story of George Knocks who joined Legacy and left a bequest that made a difference. The information was intended to be used by press and magazines etc. A longer version of the story is in the Weekly Bulletin - 29 Sept 1964 and this document prepared by Legatee Armstrong in 1965 called One Man's Legacy. Summary: George was described as a lonely ex-seaman who migrated to Australia after the first world war. He learnt about Legacy and the work with widows and children. 'He joined up as a Legatee and from that day, the pattern of life changed greatly for George. He became absorbed in his new environment and spent most of his time with the children. The mothers founding him a rugged, but completely trustworthy friend.' When George died on 14 April 1945 he was mourned by many Legacy friends. His left his property to four comrades, as trustees to use in continuing Legacy's work, this bequest became the George Knocks Fund. As a result, a great many people in Legacy's care were helped, in all sorts of ways.A record of the life of a legatee.White foolscap paper x 6 pages with black type of the story of George Knocks Fund, stapled together and edge bound with green tape, dated 30 June 1965.Handwritten on cover 'Box 3' in blue pen, 'B4 George Knocks Fund' in red pen and '1945' in pencil. Final page is signed 'JHB Armstrong' in blue ink.george knocks, fund, bequests