An annual tactile art exhibition held by the Royal Blind Society of New South Wales encouraged artists to create artworks that were meant to be touched by admirers. In 1999, more than 230 artists submitted entries, with then 66 finalists showcasing their work at Customs House. This program provides information on each of the 66 works selected for exhibition, as well as an information and advertising leaflets from Robert Mac G Design, who created the three prizes for the winning artists. Most works were available for purchase, as indicated on the 'Opening bid for silent auction' sheet, with all proceeds going towards providing services to the 15,000 clients of RBS.1 v. unpaged with list of opening bid prices and three leaftletsroyal blind society of new south wales, fundraising

In 1945, after feeling Nazi Germany in 1939, Karl Duldig and his wife, Slawa, were finally granted ‘landing permits’ in Australia, after six years living in refugee camps, both here and Singapore. Duldig was appointed art master at Mentone Grammar in 1945, while also establishing a small ceramics business with his artist-inventor wife, Slawa. His work was prolific across several mediums. Our School Archives holds a large collection of sketches, as well as several bronze busts which he made, depicting life, students, and staff at Mentone Grammar during his time at the School from 1945 to 1967.

This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract painting on stretched canvas featuring the colours pink, grey and silver. School of Business Services Art CollectionVerso: Pauline O'Shannesy-Dowling May 2005 "Tree" (V) Mixed media on canvas 30 cm x 40 cmart, artwork, o'shannessy-dowling, pauline o'shannessy-dowling, available, tafe business collection

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

A Program of public events held at the Bendigo Art Gallery. Monthly mini tours, Evening Viewings and Calligraphy Workshops. Light brown coloured paper - Top of the page has the words - A voice from the Golden City - BendigoBendigo Art Gallery

Contents: List of illustrations, From the Shire President, Historical background, current perspective and catalogue of art collection. This includes over 100 items. Book produced to accompany exhibition held at the Eltham Community and Reception Centre, Main Road Eltham June 26 - July 4 1993. "This exhibition celebrates two aspects of the art collection of the Shire of Eltham. There is the work which shows the love of Eltham and the environment, and work which deals with much broader concerns" Artists include: Helen Aitken-Kuhnen, David Armfield, Brian Armstrong, Alan Baker, Yvonne Ball, Piers Bateman, Julie Begg, Judith Ben-Meir, Yvonne Birch, The Bodford Collection, Janet Boddy, Deidre Boeyen, Ian Bow, David Benchley, Don Brown, Gilbert Buchanan, Paul Cavell, Patty Chandler, Rosalie Cogan, Scott Joseph Cowcher, Augustine Dall'Ava, Greg Daly, Simon Dattner, Peter Day, Domenico de Clario, Robert Delves, Joh Ebeli, Mark Edgoose, Graham Fransella, Ernest Fries, Edward Ginger, Peter Glass, Drew Gregory, Alison Hann, Tony Harkin, Wendy Henderson, Stephen Hughes, Lindsay Imbandarinja, John Irving, Hilary Jackman, Jill Kahans, William Kelly, Margot Knox, Margot Kroyer-Pederson, Anne Kueffer, Bruno Leti, Kevin Lincoln, Paul Margocsy, Alan Martin, Barry Mills, Simon Barley, Jenni Mitchell, David Moore, Barbara Munro, Ewald Namatjira, Norma Neil, Mark Page, Herman Pekel, Shane Pickett, Anthony Pryor, Clifton Pugh, Lynn Quintal, Giuseppe Raneri, Ken Robb, John Serle, Marjorie Shattock, Leslie Sinclair, Matcham Skipper, Myra Skipper, Sonia Skipper, Harris Smith, Eric Stephenson, Adriane Strampp, Marian Sussex, Tony Trembath, George Turcu, John Wakefield, Peter Wallace, Ray Walsh, Michael Wilson, Walter Withers, Vic Wood, Doug Wright, Romana Favier Zorzut, Renier Zusters.Softcover . Includes separate sheet of paper printed on both sides: "catalogue supplement" and "errata"shire of eltham art collection

Monsieur Charles Auguste Albert Racinet was born in Paris on July 20th, 1825. His job was representative of a group of 19th-century industrial draughtsmen, teachers of technical drawing and factory studio manager. He helped in spreading the most significant design of the decorative arts of the time. Racinet learned his trade from his father. He was trained by neo-classical artists in the ambit of Percier and Fontaine. August Racinet was influenced by the Schinkel tendency and supported by architects such as Hittorf and Voillet-le-Duc.Book. Large red leather cover. Title written in gold on spine. Illustrations (black & white), 100 of chromolithographic plates in gold, silver and colours. Various styles of ancient, oriental and medieval art including the Renaissance, the 17th, and the 18th centuries. Subjects are arranged in historical order. Text translated from the original French. The book includes a table of contents, a list of plates, a classified index and an introduction.A book plate inside front cover with a heading "Ballarat School of Art Library No. R/171. Stamped with "Reference","Education Department" and "Ballarat School of Art Library"art, paintings, textile, designs, decoration and craft, ornaments, ballarat technical art school library, bookplate

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Souvenir Letter Card of Clovelly containing eight hand-coloured postcards, joined concertina-like, published and produced by J. Salmon, Art Publisher, Sevenoaks especially for G. S. Reilly, The Art Store, Clovelly. The letter card was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.SOUVENIR LETTER CARD OF CLOVELLY / PRODUCED AND PUBLISHED BY J SALMON, ART PUBLISHER, SEVENOAKS / SPECIALLY FOR G S REILLY, THE ART STORE, CLOVELLYpostcards, george and edith weir, postcards -- clovelly (uk), weir collection

Beginning in Bendigo from humble origins to a captured market Post Office Gallery.An exhibition of a selection from the diverse industry which has emerged from Bendigo, 28 pages with colour & black and white photographs published by Bendigo Art Gallery.Bendigo Art Gallerybendigo, history, businesses, bendigo-history-businesses

3 black and white photographs showing the remains of a mural painted on the art room wall in the 1950's.On back of photographs: Mural in old art room (quadrangle). Painted in 1950s.williamstown high school, 1970s, mural, art room, quadrangle, after fire

Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. In 1937 he was living at 302 Drummond Steet South, Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Unframed pencil drawing of a plaster cast of a human figure known as the Dancing Faun, a marble sculpture first recorded in 1665, when Albert Rubens listed it as in the collection of the Grand Duke of Tuscany in Florence (probably long owned by the Medici). By 1688 the sculpture was held by the Uffizi in Florence. In September 1800 the sculpture was sent to Palermo along with other treasures to avoid plunder by the French army, but it was returned to the Florence in 1803. By the 18th Century the Dancing Faun gained a reputation as one of the finest ancient sculptures in existence. A faun makes music by simultaneously playing the ‘crotala’ (similar to cymbals) in his hands and the ‘scabellum’ or ‘croupezion’ under his right foot. In Victorian Education Department examinations, this sculpture was sometimes called the "Clapping Faun".Written on the mount board below the drawing "Drawing Human Figure from the Cast. for art Teacher's Certificate 1931 by Albert E. Williams. Tech. Art School, Ballarat."art, artwork, albert e. williams, williams, ballarat technical art school, art teacher's certificate, a.e. williams, alumni, drawing from the cast, drawing from the antique, drawing the himan figure from the cast, dancing faun

Victor GREENAWAY (1947 - ) Born Sale, Victoria Victor Greenaway studied Ceramics at RMIT. He established his first workshop in Hawthorn in 1968, before moving to Ian Sprague's Mungeriba Pottery, Upper Beaconsfield in 1969. He studied under Tatsuzo Shimoaka in Mashiko, Japan under a Churchill Fellowship awarded in 1974. Upon his return he established Broomhill Pottery in Upper Beaconsfield in 1975, and in 1976 started employing trainees. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Hand thrown porcelain moon jar which was commissioned for the Ballarat College of Advanced Education Art Acquisitions Committee. art, artwork, victor greenaway, ceramics

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. We are seeking information on this artist who studied at the Ballarat Technical Art School in the 1930s. If you are able to assist please make contact via the comments link below.art, artwork, keith, posters, colpin avenue

This print is one of a pair (Thermopylae). The original was painted by Arthur Chidley, an English artist from the late 19th Century. The Cutty Sark was a British clipper ship. Built on the Clyde in 1869 for the Jock Willis shipping line, she was one of the last tea clippers to be built and one of the fastest. , This item is an example of a piece of art likely to be found in a home where a framed print was considered to be an essential finishing touch. The Cutty Sark is the last tea clipper in existence and is considered a maritime treasure. Black framed print of "Cutty Sark" - ship in full sail. Ship is on rough seas. The wooden frame sections are simply mitred and nailed at the corners.Back- 4296picture cutty-sark chidley

The History of Croydon U3A 1992-2012. (Croydon, Victoria.)

Refer Cat No. 1280. "JACK GRINTON No. 1038" 38th Bn - Refer Cat No. 1280 for Service History. "BERT GRINTON No. 5024" 38th Bn - Refer Cat No. 1320P for Service History.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - one black and white photograph, one colour photograph. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Life after 1919" Photographs - black and white - "Grinton family: Jack, Bert and Fred (back), and Arthur, May, Hughina and Emily (front) Tragowel 1920", Colour - "38th Battalion reunion hosted by the Grintons"framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No.1280 for Jack Grintons service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."The Grinton Collection" "A Camera on the Somme". framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280 for Jack Grintons service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Photography and the FIRST WORLD WAR"framed accessories, camera on the somme, ww1, 38th bn, grinton, photography

Refer Cat No. 1280 for Jack Grintons service history. "BERT GRINTON NO. 5024" 38TH BN - refer cat no 1320P for his service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board."A CAMERA ON THE SOMME". "Living behind the lines". Photograph - "Bert Grinton and two soldiers in a trench 1916-1919". framed accessories, camera on the somme, ww1, 38th bn, grinton

Jack Grinton. Refer Cat No.1280 for his service history.Story board - framed. Story Board - black print on white and pale blue background on synthetic paper adhered to backing board. Frame - metal with wood backing board." A CAMERA ON THE SOMME' "The Burden of War". Photographs top left - "Damaged windmill, France or Belgium 1916-1919" Top right "Guns and human bones marking field graves, France or Belgium 1916-1919" Middle right "Bomb damaged cathedral, France or Belgium 1916-19" Bottom right "Military Cemetery, France 1919" framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280 "Jack GRINTON No 1038", 38th Bn - Refer Cat No. 1280 for his service history.Story Board - framed. Storyboard - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - three black and white photographs, one colour photograph and copy of - handwritten letter on yellow paper. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Trip of a Lifetime" Photographs; Top left: in colour "Postcard sent by Jack Grinton to his family, Cape Town, 5 July 1916" Top right: "Paris Opera, France 1919". Middle right: " La Madeline Church, Paris 1919" . Bottom right: " Jack Grinton with captured German Artillery, Paris 1919". Handwritten letter: "From Jack".framed accessories, camera on the somme, ww1, 38th bn, grinton

Refer Cat No. 1280. "JACK GRINTON No. 1038". 38th Battalion - refer Cat No. 1280 for his service history.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - four black and white photographs. Frame - metal with wood backing board."A Camera on the Somme". "Portraiture and Remembrance", Photographs - Top left - "Jack Grinton, France 1918 - 19" Top Right - "Australian soldiers and French civilians 1918-19". Middle Right "Field grave of Lance Corporal Risbey (38th Battalion) killed in action 29 September 1918, France 1919". Bottom right - "Vaire Wood field cemetery, France 1919"framed accessories, camera on the somme, ww1, 38th bn, grinton, risbey

Refer Cat No. 1280, Grinton collection.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - three black and white photographs. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Quota 45: The Journey Home". Photographs - Top - "Troops on deck of HMAT Karmala, at sea 1919". Middle "Workers on board HMAT Karmala, at sea 1919". Bottom "Washing drying, soldiers wrestling and relaxing on HMAT Karmala, at sea 1919."framed accessories, camera on the somme, ww1, 38th bn, grinton, hmat karmala

This is number 17 of 27 items in the Daisy Vickers collection of World War One memorabilia. These items were sent or given to Daisy Ogier (nee Vickers) during World War One by Corporal Arthur Anderson who enlisted from Warrnambool in 1915 at the age of 21. He served in Egypt and France and returned to Australia in 1919. Daisy Ogier (1907-1987) was a student and then a teacher at Warrnambool Technical School with her early teaching years there from 1925 to 1936 and in 1949. She became the head mistress from 1950 to 1963 and in 1968. She officially retired in 1976. Daisy Vickers was one of the best loved and dedicated teachers that the school ever had. She married the Reverend Fred Ogier and continued her association with the school after her husband's deathThis card is interesting because of its association with World War One and two local people Daisy Vickers and Arthur AndersonThis coloured postcard features a man looking into an empty bottle held against his eye. There is a grey and white cat wearing a bow in the foreground and black and blue printing. The reverse has hand written ink writing and space for a stamp.My Landlady's Cat wears a Blue Ribbon but I don't believe it's a Teetotaller !!. Il me semble qu'on y a mis un doigt France Jan 26th Dear Daisy I received your letter dated 6th Nov saying you had been to the show what are you learning to play on the piano Arthur daisy vickers, arthur anderson, warrnambool technical school, world war 1 postcard

This is a book of 136 pages. The cover has been bound with tape and shows a colour image of a female skier on a blue background on the front cover and an advertisement on the back cover. The pages contain articles and advertisements (printed text). The cover is a little damaged and the pages are dog-eared.non-fictionAspects of health and physical and mental well-beinghealth and well-being, warrnambool physical culture groups, physical culture 1924, physical culture magazine, physical culture publication

Lists all towns and villages with entries in the Victorian censuses between 1841 and 1901. It includes in excess of 1400 entries with the latitude and longitude for each town, numbers males and females in the town, and the number of occupied dwellings (where available). For many of these settlements the only visible trace of them today is in the census results collected by the fledgling governments of Colonial Victoria. It is a comprehensive reference and a fascinating insight into the movements of early populations of new Australians.cities and towns victoria, history 19th century, statistics, ghost towns - victoria, geographical names victoria, victoria census

Neil Douglas (1911 - 2003) was an artist and conservationist. In 1964 he founded a co-operative consisting of families who wished to live in harmony with the bush and indigenous wildlife at Bend of Islands, Kangaroo Ground. Contents: 1. Photocopy from unknown community newspaper October 1978: "The Balancing of Nature" an interview with Neil Douglas. Page also includes an article" Ecology" about plans being drafted for the construction of a completely biodegradable 100% organic school which refers to the unnamed Eltham College. 2. Folio depicting six artworks by Neil Douglass produced by Toorak Art Gallery, South Yarra. The paintings are: “Summer Creek”, “Eighteen Emus", "The Strange Australian Presence" (Black and white), "Ways before the Whiteman - Kangaroo Pad" (Wyperfeld National Park), (back and white) with caption, "Swipers Gully" and “Bush in Drought” (date unknown).neil douglas, paintings, etham college

Memorial card given out to family and friends. Alexander Kirk Stewart died October 17, 1897 aged 42 years. Husband of Caroline Fairie (nee Kidd - born 1856 at sea), they marriedin 1885. Caroline died in 1901 at Diamond Creek aged 45 years. Memorial Cards were commonly handed out to those friends and family paying their respects at the loss of a loved one. CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911897, alexander stewart, cabinet photo, caroline fairlie stewart (nee kidd), marg ball collection, memorial card, shillinglaw family photo album 3, the art engraving company