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Ballarat Tramway Museum
Photograph - Digital image, Wal Jack, 14/11/1956 12:00:00 AM
Yields information about how the centenary of the State Savings Bank of Victoria was celebrated on tram car posters.Digital image from the Wal Jack Ballarat Album of photographs of the front of Ballarat No. 25 carrying a sign celebrating the Centenary of Service for the State Savings Bank (of Vic). Taken by Wal Jack, 14-11-1956. Photographed in City Loop with Patersons in the background. See image i2 for rear of photograph. On rear in blue ink "SEC Ballarat No. 25 with State Savings Bank centenary poster 1 end of car only, Sturt St loop - 100 years in Ballarat 15-11-56. Photo date 14-11-56" with Wal Jack stamp in top right hand corner with number "T240" written in.trams, tramways, advertisements, state savings bank, centenary, tram 25 -
Port of Echuca
Colour Photograph, 04/03/1983
This coloured photograph shows the re-floating of the P. S. Adelaide on a soil ramp, being encouraged (rear entry) down the temporary slipway onto the river. The temporary slipway is clearly visible with a workman (possibly Kevin Hutchinson) standing at thelast log as the boat nears the waters' edge. A winching float and an outboard motor boat are at the right. Spectators line the banks of the ramp. Part of a photo sequence no.P000041; P000045; P000046; P000047; P000048 of P. S. Adelaide re-floating.The re-floating of the P. S. Adelaide was a Significant community social event evident by the number of spectators in the photograph. The community had invested a great deal of time and money into re-floating the paddlesteamer. The newspaper covered the event in detail with a number of action shots as the boat made its rear entry from the temporary slipway onto the river. Part of a photo sequence no.P000041; P000045; P000046; P000047; P000048 of P. S. Adelaide re-floating.Colour photograph of the P. S. Adelaide on a soil ramp, being encouraged (rear entry) onto the river. A winching float and an outboard motor boat are at the right front. Spectators line the banks of the ramp. Temporary slipway constructed of logs is clearly visible before the boat enters the water. -
Ringwood and District Historical Society
Photograph, Mullum Mullum Creek- 29-10-89
Black and white photograph"Written on back of photograph" Mullum Mullum Creek North bank view towards the West. Taken West of Harrison St.. Weed infested scrub on banks. -
Ringwood and District Historical Society
Photograph, Mullum Mullum Creek- 29-10-89
Black and white photograph"Written on back of photograph" Mullum Mullum Creek View downstream from North bank. A most pleasant part near New St (South bank) -
Magnet Galleries Melbourne Inc
Camel corps / Portrait of Private, red cliffs00150.tif
Four photos on a page from an albumCamel corps on the bank of the suez canal Nov 1914 Private ... 8th battalion A.i.f Camel corps on arabian bank of suez canal nov 1914ww1, world war 1, a.i.f, november, 1914, camel corps, portrait, private, suez canal, arabian bank -
Port Melbourne Historical & Preservation Society
Photograph - Audience, Swallow and Ariell Bust Bee event, 1914 - 1920
This could be the Swallow & Ariell's "Busy Bee" masked novelty carnival held at the Albert Hall, Bank Street, South Melbourne in Friday 11 June 1915. 1915 'MULTITUDINOUS MASQUERADE.', Port Melbourne Standard (Vic. : 1914 - 1920), 19 June, p. 3., viewed 21 Oct 2020, http://nla.gov.au/nla.news-article91164843One of 44 black and white photos recording the work and contribution by Swallow & Ariell's "Busy Bee" for the First World War in Europe .35 - Audience of hundreds in an unidentified civic hall - many of the audience are in uniforms and fancy dress costumes. Possibly the "Busy Bee" masked novelty carnival at Albert Hall, Bank Street, South Melbourne, 11 June 1915.built environment - industrial, business and traders, war - world war i, social activities, busy bee, swallow & ariell ltd, red cross -
Port of Echuca
Black and white photograph, Earliest 1897
P. S. Marion Dimensions: 107 ft 11 in X 5 ft 3 in Tonnage: 157 tons Built: 1897, at Milang, S. A. References: Book: "Murray River Paddlesteamers" by D. Wardle. pp.22 Riverboats and Rivermen by W. Drake & M. PagePaddlesteamers were a common form of transport along the Murray river in the early 20th century. This photo shows a number of travellers on the boat, judging by their attire, workmen, cook, men in suits and ties as well as a group of people sitting on the bank, possible a woman and children with dog waiting for the boat to depart. There is also a horse drawn wagon with a number of people on and around it that could be waiting to pick up goods (or have unloaded) from the boat. At the back of the boat stacks of wheat bags (?) are visible.Black and white photograph of P. S. Marion moored by a river bank. There is a group of men standing towards the bow and a horse drawn carriage on the bank near the stern. Copy of an original photograph.On the front: MARION on the bow of the boat and on the wheelhouse. On reverse, in pen: Marion. where? Stamped in black: National Library of Australia.riverboats,, paddle steamers, p. s. marion -
Bendigo Historical Society Inc.
Document - BUSH COLLECTION: PAGE OF BANK ACCOUNT ( S A BUSH), 1887-88
Double-sided page of Bank Account ( S A Bush) with 'The Colonial Bank of Australasia' (Bairnsdale Branch). Account current with Mr S A Bush, Storekeeper, Bairnsdale. Dec 1887 - Feb 1888person, individual, bush collection - personal, bendigo, bush collection, collection, business, commerce, retail -
Port Melbourne Historical & Preservation Society
Photograph - Savings Bank, Bay Street, Port Melbourne, 1914
COPYRIGHT PUBLIC RECORDS OFFICE Digital image of photograph, taken in 1914, showing four men standing in the doorway of the Savings Bank (later State Savings bank of Victoria) in Bay Streetbuilt environment - commercial, state savings bank of victoria, bay street -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: DEBORAH GOLD MINES NL BONDS SOLD, 1947
Documents: sheaf of documents pinned in top right hand corner from The Bank of Australasia and Hiskens and Leonard regarding bonds sold. Letter from bank is first document, with accompanying receipts.organization, mining, deborah gold mines nl, mccoll, rankin and stanistreet: deborah gold mines nl, bonds, leonard and hiskens -
Hume City Civic Collection
Photograph, 1980s
The timber and cable swing bridge straddled the Deep Creek at Bulla behind the Bulla school. It enabled children who lived across the river to travel directly to school instead of going the long way around the road, a possible distance of 2-3 kms.A coloured photograph of the timber and cable swing bridge which was constructed across the Deep Creek at Bulla. Trees are growing along the river bank and there is a row of conifers growing along the opposite bank.swing bridges, deep creek, george evans collection -
Glenelg Shire Council Cultural Collection
Photograph - Sheet of 12 contact prints - Various historic Portland buildings and Landmarks, c. 1970
Sheet of 12 contact prints of rephotographed photographs. Identifying numbers 5724 a, b, c, d, e, f, g, h, i, j, k, l (a) First jetty and immigration depot (b) National School (c) Observatory Hill (d) 'Kenley" Res. George Crouch, First Post Master (e) Old Library (f) Union (ANZ) Bank (g) Lighthouse and Keepers Cottage (h) 'Blainslie' (i) View from Whalers Bluff over Bay (j) Percy Street, view from Henty Street (k) Portland Jail (l) Flagstaff and Light Keepers quartersFront: (a) Henty Beach (b) Portland State School (c) Old Library (f) ANZ Bank (i) View of Whalers Point (k) Portland Jail on Observatory Hill -
Ballarat Tramway Museum
Photograph - Digital image, Wal Jack, 20/12/1956 12:00:00 AM
Yields information about how the centenary of the State Savings Bank of Victoria was celebrated on tram car posters.Digital image from the Wal Jack Ballarat Album of photographs of the front of Ballarat No. 43 (Note Wal's albums notes says No. 41) carrying a sign celebrating the Centenary of Service for the State Savings Bank (of Vic) with date 15 Nov 1956 on sign. Taken by Wal Jack, 20-12-1956. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative On rear in blue ink "SEC Ballarat State Savings Bank centenary poster placed on No. 43, Wendouree Depot 20-12-56" with Wal Jack stamp in top right hand corner with number "T242" written in.trams, tramways, advertisements, state savings bank, centenary, tram 43 -
Kilmore Historical Society
Photograph, Real Estate House, c1970
The building was originally the Colonial Bank of Australasia and has a series of occupants, include a real estate firm in the 1970's20cm x 10cm black and white photograph of 1 Powlett street, former colonial bank of Australasia. corner of Powlett Street and Lancefield Road. Two story light coloured rendered building with signage for "Real Estate House" on top of the ground floor. Other signage painted on the Lancefield Road side of the building include: "Land specialists to Kilmore & district". The building also has an adjoining cottage on the Lancefield Road side of the property. There is also a figure crossing the road and five vehicles in the background of the photograph, three regular vehicles and two possible emergency service vehicles. A street sign can be seen pointing to: Lancefield, Kyneton, Foote Street, Melbourne and Seymour.PHO-00003banks and banking, real estate agents -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah III, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah II, c1982
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: CENTRAL DEBORAH GOLD MINE NL: BANK STATEMENTS, 1954 - Marsch 1961
Document: McColl, Rankin & Stanistreet Collection: Central Deborah Gold Mine NL - bank statements of Central Deborah Gold Mining Co. NL with ANZ Bank. Brown paper wrapper tied up with brown string contains bank statements. Handwritten summary prepared by Chris Bradley ( 2009 ) inserted in front of archive.organization, business, central deborah gold mine, mccoll, rankin & stanistreet collection: central deborah gold mine nl. bank statements, accounts -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: CENTRAL DEBORAH GOLD MINE STATEMENTS OF ACCOUNT, July 1944-Oct.1951
Document: McColl, Rankin & Stanistreet Collection: Brown hardcover folder containing statements of account of Central Deborah Mine with ANZ Bank, English, Scottish and Australian Bank and the Union Bank. Details gold advances and mint returns. Two handwritten sheets on advances and mint returns completed by Chris Bradley (CVA volunteer 2009).organization, business, central deborah gold mine, mccoll, rankin & stanistreet collection: central deborah gold mine nl, goldmining, accounts, bank accounts -
Glenelg Shire Council Cultural Collection
Negative - Negative - Glenelg River near Nelson, Victoria, c. 1936
Negative for a black and white photograph. Image shows Glenelg River near Nelson, Victoria. Dinghy pulled up on river bank, jetty bottom left, group of people on bank beneath trees. -
Yarra Glen & District Historical Society
Sepia postcards, The watering place Yarra Glen
Sepia photograph taken from a point just north of the bridge over the Yarra River at Yarra Glen. A small herd of cattle and a horse are on the river bank and in the water. A horse with rider stands on the bank.On back of postcard at the top "POST CARD". On the left hand side "THIS SPACE MAY BE USED FOR PRINTED OR WRITTEN MATTER”. On the right hand side "ONLY THE ADDRESS TO BE WRITTEN HERE”. In a box in the right hand corner "A HALF-PENNY STAMP TO BE PLACED HERE". Along the left hand margin "Ajax series. Printed in England". horse, yarra river, yarra glen, cattle, horse and rider, river -
Bendigo Historical Society Inc.
Document - GRAHAM HOOKEY COLLECTION: COMMERCIAL BANK OF AUSTRALIA PAPER BAGS
Six paper bags of the Commercial Bank of Australia Limited for deposits $10 of ….cents coins. Three small paper bags of the Commercial Bank of Australia limited for deposits of $ 2 of 5 cents coins.numismatics, equipment, bags -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Slide - Slides
Unknown master reference for index, each drawer has capacity to hold 30 slides, each drawer has a plastic tab to enable withdrawal, 29 drawers have intact plastic tabs which remainder are broken, each drawer appears to be at capacity, except 4 bottom right hand corner Ex 22 - Ex 38An indexed bank of slides, each drawer has an index of contents, total of 48 drawers, box has 8 drawers x 6 drawers, body of bank is grey and slide drawers are transparentphotography, photographs, slides, film -
Greensborough Historical Society
Collection Tin, Spastic Children's Society Home Bank, 1960c
These small collection tins were distributed to homes to encourage the 'banking' of small coins which would then be donated to assist the work of the Spastic Society of Victoria. Founded in 1948, and now known as "Scope" this is a not-for-profit organisation providing disability services throughout Victoria to thousands of children and adults with physical and multiple disabilities An example of mid 20th century fund raising.Cardboard cylinder with metal ends. Top has slot for coins. Cream coloured outer with red writing.On label "Spastic Children need your help" "Home Bank"spastic society of victoria, home bank, fundraising -
Stawell Historical Society Inc
Book, London Charter Bank, Share Book, London Charted Bank 1863-75, 1863-1875
W H Carter Current Account Bank & Share Bookstawell business -
Whitehorse Historical Society Inc.
Functional object - Room to let sign, not known
not knownA common sight in shop and house windowsBrown card with gold lettering - 'Room To Let' - border in goldRoom To Let, W.H. Banks 120 Brunswick Street, Fitzroysigns, to let -
Wangaratta High School
WHS Trophy- Sport, 1994
A gold metal trophy with some corrosion evident with a black marble base and a paper heading reading:COMMONWEALTH BANK CUP 1994 1st JUNIOR WOMEN SECOND -
Melbourne Legacy
Letter, Aaron Beattie, 1928
Correspondence between Aaron Beattie Esq from Beattie Physical Culture College Melbourne and E. Hilmer Smith Esq about Girls’ Physical Culture Classes in July 1928. It was intended to aid the Sydney Legacy Club establish classes for girls. Excerpts include the following information: "I would suggest that you form a special C/tee to handle the Physical Culture work. . . . I would suggest that special care be taken to see that none but fully-qualified and trained teachers handle the children - this is all important. . . . We charge every child 5/- per year, payable quarterly. We have been most fortunate here with the girls section. An old friend of mine - Mrs Gillies - is our Hon. Directress. She was - until her marriage - in charge of all Physical Culture training in the State Schools of Victoria, and is a wonderful woman. She takes complete charge, appoints her own staff and so on. We pay some of her assistants from £2.2.0 to £5.5.0 per term of 12 weeks. The class was formed in May last year with 42 girls - we now have 121, and they have left the boys far behind. Enclosed you will find a copy of our measurement chart, which is an important part - every child should be recorded before starting, and again at the end of the year. I am also sending you a copy of our Demonstration Programme. This show was given after the girls had been going for 10 months, and it was a wonderful success - all these things help to bring success, and children seem to want these things to keep them going. . . . We spend about £600 per year on our Children's Work and nearly all of that goes to the Physical Culture side." The correspondence is a good snapshot of the undertaking of Melbourne Legacy running girls' club at that point in time and that Melbourne Legacy was trying to help Sydney Legacy establish a similar program. Legacy was only 5 years old at that time and already the importance of the physical culture classes for girls was underway.Set of three typed and dated handwritten letters on paper between Aaron Beattie Esq, and E Hilmer Smith Esq. 00126.1 on Legacy Club letterhead. 00126.4 on Commonwealth Bank notepaper.girls' club, junior legatee, girls' classes, aaron beattie -
Kew Historical Society Inc
Postcard, Princess Bridge, Melbourne, c.1907
The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Rare variant version of this view of Princes Bridge, from the south-east bank of the Yarra River, looking towards the city of Melbourne, showing landmarks of the period.Polychrome postcard of Princess Bridge in Melbourne.Princess Bridge, Melbourne Miss McGilivray, "Oak Bank", Peterborough, _____. princess bridge -- melbourne (vic.), river yarra, postcards -- melbourne (vic.) -
Friends of Westgarthtown
Box, money, c. 1890s - 1920s
Small cylinder tin with three printed pictures of Charlie Chaplin on paper. Slot in top for coins, tin plate ends and body of layered paper.Savings Bank' on top, one word either side of slot.personal effects, money containers, savings, banking, money box, illustrations, charlie chaplin -
Federation University Historical Collection
Book, Ballarat School of Mines Cheque Book Stubb
Union Bank Cheque Book stubb as used by the Ballarat School of Mines.cheque book, banking, ballarat school of mines