A hat coat and umbrella stand is a device used to store hats and often coats on, and umbrellas within. Some catalogues in Europe marketed this furniture as a portmanteau from the French words Porter (carry) and Manteau (cloak). The front hall was the introduction to the house, and as such was an important part of the Victorian home. Furnishings were selected not only to make it a useful place to hang a hat and coat, store an umbrella and leave a calling card but also to show family wealth, social position and knowledge of current styles. A hall stand or a hat rack was the most important piece of furniture in homes at this time. New and more elaborate designs began to appear about 1840, as homes became larger and social visits became more structured. Usually made of wood and standing at least 1.5 meters tall, they have a single-pole making up most of the height, with a sturdy base to prevent toppling, and an array of lengthy pegs or hooks at the top for placement of hats. Smaller houses had smaller front halls, so a single-pole type as by the 1920s houses had become smaller. A household furniture item possibly from the 1920s that was common in houses from the early 1840s, it's significance is social, demonstrating how furniture trends change over time with the more elaborate the item the more social standing was attributed to the owners' position in society. even today persons association and ownership with inanimate objects tend to represent their social standing along with their financial and community acceptability. Coat rack with four curved legs, circular holder for umbrellas and walking sticks. Four metal hooks, screwed onto main column of stand. Condition: one curved leg broken. 2 hooks broken.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

"The breeze going through the eel trap gives a feeling of water flowing through the vessel with the feathers softly waiving as the water flows. My grandfather Nicholas Couzens and my uncles made eel traps to fish the Hopkins River - this is how my mother learnt the techniques which she passed on to me."Bronwyn RAZEM Gunditjmara/Kirrae Whurrong Bronwyn Razem is an Indigenous Australian basket weaver and painter. She is a Gunditjmara woman of the Kirrae Whurrong clan of western Warrnambool on the Victorian coastline. Bronwyn’s practice involves an exploration of her Indigenous heritage and identity, and she creates symbolic representations of places and events that are meaningful to her family. She integrates ochres, sand and other materials into her paintings, and her works also draw on the possum skin cloak traditions of her ancestors. In 2008, Bronwyn was chosen by the Australia Council for the Arts to be part of a delegation of Indigenous artists to attend the 10th Pacific Arts Festival in Western Samoa. Bronwyn’s mother, Aunty Zelda Couzens, was a well-respected basket weaver and elder who taught Bronwyn basket-making techniques. Bronwyn now regularly conducts basket weaving workshops with Victorian Indigenous communities in order to facilitate the revival of cultural traditions. She has a Bachelor of Arts with Honours at Deakin University, and in 2008 she was enrolled in a Master by Research degree at Deakin Institute of Koorie Education, Geelong, and was living in Ballarat. (https://www.daao.org.au/bio/bronwyn-razem/biography/, accessed 18 April 2016) 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.Bronwyn RAZEM (1953- ) Gunditjmara/Kirraw Wurrong A woven New Zealand flax eel trap with emu feathers. This work won the University of Ballarat Acquisitive Award for work reflecting Victoria's Western District. The judges were impressed by Bronwyn Razem's translation of the traditional eel trap into a sculptural form evocative of the flow of water and possible the passage of time. The design and technical knowhow which Razem inherited from her mother, uncles, and grandfather connects this work to the family;s life and traditions. She then enhances the simplicity of this very functional object by the addition of delicate emu feathers, creating a work that creatively and symbolically transcends its original form. art, artwork, bronwyn razem, razem, eel trap, aboriginal, indigenous, available

The etymology of the word portmanteau: A portmanteau was a travelling bag used as a mailbag. During the eighteenth and nineteenth centuries, both newspapers and letters were transported in these leather mailbags that opened into two sections. A portmanteau is a word created by the blending of two other words in terms of the sounds and meaning. Portmanteau itself is a portmanteau; made up of the French ‘porter’ meaning ‘to carry’ and ‘manteau’ meaning ‘cloak’. The other meaning of this word is ‘a travelling case or bag' but was coined by Lewis Carroll with its new meaning in 1882. History: English merchant Thomas Witherings established mail routes throughout Europe in the 1620s. He drew up a proposal in 1635 for an English mail system based in London in which portmanteaux (containing 2 leather bags lined with cotton) could travel to European towns with sealed bags of mail for protection against spies. The system was put into motion and some 26,000 letters were mailed safely and unopened between London and European towns each week. In the nineteenth century, the official portmanteau was used to carry the mail, letters and newspapers on Americas New England stagecoaches that travelled the postal routes. Before 1789 newspapers were mostly excluded from the mail and the official portmanteau. After the first United States Congress (1789–1791) the postmaster general allowed printers free postage to communicate reports and articles of Congressional informational newspapers with other publishers in other towns and cities for distribution. Example of a mid-20th-century leather bag not connected to a person of significance from history or a historic event. The significance lies in the historic social aspect of this type of bag and how it got its name. This type of bag was popular from the mid 19th century for personal use and fell out of favour in until the 1950s and the origin and meaning of the word used to describe this type of leather bag "portmanteau". Portmanteau leather bag, with brass oval badge, tan interior with compartment separator. Inscribed "Allchin Bros Makers Ballarat". flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, portmanteau, allchin bros

The etymology of the word portmanteau: A portmanteau was a travelling bag used as a mailbag. During the eighteenth and nineteenth centuries, both newspapers and letters were transported in these leather mailbags that opened into two sections. A portmanteau is a word created by the blending of two other words in terms of the sounds and meaning. Portmanteau itself is a portmanteau; made up of the French ‘porter’ meaning ‘to carry’ and ‘manteau’ meaning ‘cloak’. The other meaning of this word is ‘a travelling case or bag' but was coined by Lewis Carroll with its new meaning in 1882. History: English merchant Thomas Witherings established mail routes throughout Europe in the 1620 s. He drew up a proposal in 1635 for an English mail system based in London in which portmanteau (containing 2 leather bags lined with cotton) could travel to European towns with sealed bags of mail for protection against spies. The system was put into motion and some 26,000 letters were mailed safely and unopened between London and European towns each week. In the nineteenth century, the official portmanteau was used to carry the mail, letters and newspapers on Americas New England stagecoaches that travelled the postal routes. Before 1789 newspapers were mostly excluded from the mail and the official portmanteau. After the first United States Congress (1789–1791) the postmaster general allowed printers free postage to communicate reports and articles of Congressional informational newspapers with other publishers in other towns and cities for distribution. Example of a mid-20th-century leather bag not connected to a person of significance from history or a historic event. The significance lies in the historic social aspect of this type of bag and how it got its name. This type of bag was popular from the mid 19th century for personal use and fell out of Portmanteau soft leather bag with lock, leather handles (one broken) and with metal plate on front.No inscription flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

In 1895 artist Gordon Coutts was commissioned by Elizabeth Harding (Mrs. Silas Harding), a wealthy pastoralist, to paint this portrait of Prince Albert. The portrait was completed by 1896 and is a copy of an original by German artist Franz Xaver Winterhalter (1805-1873). In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Queen Victoria’s appreciation of Winterhalter began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. There are a number of notable differences in the original Winterhalter work and this painting. The local artist Coutts has changed the colour of the Prince’s cloak from deep blue/black to red (perhaps as a result of working from a black and white photograph). Other differences include extra satin shoulder ribbons, a simplification of the furnishings, notably the floor, and an inexact representation of the medallions worn; collars of the Order of the Garter, Bath, and the Golden Fleece. The painting is framed to match the official copy portrait of Queen Victoria, with the coat of arms of Prince Albert of Saxe-Coburg and Gotha, fixed atop the frame in place of the royal crown.Framed portrait, oil on cotton, of Prince Albert. The Prince Consort wears the robes of the Order of the Garter, holds a Field-Marshal’s baton, and is posed in front of a curtain and colonnade. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. The coat of arms that sits on top of the frame is a combination of carved timber and composition elements.Signed lower right corner in red brushpoint: ‘after Winterhalter / By Gordon Coutts / 1896’.albert, prince consort of victoria, queen of great britain, 1819-1861, winterhalter, franz xaver, 1805-1873, coutts, gordon (1865-1938)

Transcription of the speeches given at a dinner at the Oakleigh Waverley Branch to honour Legatee Frank Doolan, who was a close friend of Stan Savige and a founding member of Melbourne Legacy. It was Doolan who suggested in 1925 that the object of Legacy be changed from the original intention to find work for returned servicemen to looking after the widows and children of those who had died. Although he refused nominations to be President throughout the ensuing years, he served on many committees, working tirelessly in the background. He was also a part of the campaign to build the Melbourne Shrine of Remembrance. He recounts the confrontation between Legatee Kemsley and Allan Spowers, the Editor of the Argus. His address at the dinner was self deprecating in tone and contained many interesting anecdotes about famous people he had worked with, including Stan Savige. He tells the story of how the Savige Toby Jug (00198) was created by Herb Greenway for an event to welcome Savige back from WW2, and how as a member of the Anzac Observance Committee he helped to distribute a couple of hundred Lone Pine seedlings around Australia. He also recounts the pride he felt in being asked to plant the Olive Tree of Peace at the Shrine of Remembrance in 1973 as part of the Legacy 50th anniversary celebrations. The olive tree was moved in 2002 into the new courtyard. He talks about being asked to propose the toast of Legacy at the 1965 Perth Conference and recounted part of what he said. He used the analogy of the cause of Legacy being like a cloak with threads of gold and silver, interwoven with the efforts of Legatees. The personal anecdotes reveal the human side of Legacy history, and attest to the social customs of the day.White foolscap paper x 13 pages with black type of a report on a dinner at Legacy House for L/ Doolan.Title page: 'Archive copy' handwritten in blue biro. Some pencilled annotations throughout.legatee event, tree planting, speech, frank doolan

Published: "The Melbourne Post" page 369, 22 November 1866. Reproduced Page 76 "Pioneers and Painters" One wet and miserable October night in 1866 a well-spoken young Irish braggart, who was wearing a poncho or riding cloak, knocked on the door of the home of Mrs. James Russell (nee Haughton) in Russell Road, Warrandyte. Realising that he was weary and hungry, Mrs. Russell gave the young visitor food and a bed in a hut up the back yard. The next morning she found he had gone as Harry Houghton had obligingly rowed him across the river in a mining punt. The man was Robert Burke (aka Bourke but real name Clusky), a known bushranger, who was being hunted by the police. Burke went to Kangaroo Ground where he stayed at Wellers Hotel before moving onto Hurstbridge. At Hurstbridge some hours later, he was eating breakfast given him by Miss Ellen Hurst, whose suspicions were aroused when she noticed a pistol in his pocket. Hastily she informed her brother, who loaded a shot gun and confronted Burke, an argument broke out and Burke produced a pistol. Hurst fired his shotgun, but missed. The two scuffled and during the scuffle, the pistol fired, wounding both Hurst and Burke. Burke was over-powered by some station hands and placed under arrest. Hurst, unfortunately, died later that day. Poor young boastful Burke - he was found guilty of murder and hanged, despite a strong recommendation for mercy and a large petition signed by Melbourne citizens claiming that he reacted in self defence. Edited extract from ‘Warrandyte a Brief History’ by Bruce Bence 1991. (Posted to Warrandyte Historical Society Facebook page 27/01/2021)This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Print 16.5 x 22 cmhurstbridge, illustration, robert burke, fight, bushranger burke, other areas, pioneers and painters, sepp, shire of eltham pioneers photograph collection, bushranger

Information on the life of Legatee Frank Doolan from a dinner held to celebrate his 50 years of service on 27 May 1974 at the Oakleigh and Waverly Branch. Speakers included President Bill Braidie, Legatee Jim Gillespie and Legatee Frank Doolan. Frank recalls how he delivered the Toast to Legacy at the Perth Conference. In it he likened Legacy to a valuable cloak with foundations of gold and silver laid down by the founders, and additional threads added by successive legatees to become what the public see today. Legatee Doolan was a very active Legatee, starting within the first year of Legacy when he was nominated by Bill Laver and Charles Copp in 1924. While he never sought 'office but he was always there - in the background - able and willing to actively serve'. In World War 1 he enlisted in November 1917 and served with 1st Division Signal Company and in France. After Armistice he attended a course for young AIF surveyors at the British Ordnance Headquarters at South Hampton. Famously it was Frank that proposed that the spirit of Legacy is service to the widows and children. "Here it received its soul. The thoughts transmitted to the Board by this quiet man." He was part of the Legacy team who worked enthusiastically for the establishment of the Shrine. It was his technical skill as a surveyor that enabled the ray of light to shine on the Stone of Remembrance at 11 am on 11th November. Also to solve the complication of daylight saving by positioning two mirrors. For this he was awarded the British Empire Medal. He was involved in the purchase of Legacy House in 1955 and also in the Lone Pine project in 1964. He was also established an archive at Legacy House to try and capture the history of Legacy. The information was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.Part of the collection of material held by Melbourne Legacy on Legatee Frank Doolan a prominent member of Legacy. The information was collected to record the lives of prominent legatees in a folder.Typed A4 document x 5 pages of the life of Legatee Frank Doolan. frank doolan, ray of light, shrine of remembrance, lone pine

Single page document. Crown at top. Titled INVESTITURE AT GOVERNMENT HOUSE, MELBOURNE NOTES FOR GUIDANCE Recipients may be accompanied by three relatives of friends. Because of the nature and length of the ceremony, it is not considered a suitable occasion for children under the age of six. Due to the large number of recipients on this occasion, it will not be possible for requests for additional guests to be met. Recipients and their guests will gain access to Government House by presenting their Entrée Cards at the Main Gate and on entering the Ballroom. Car parking space is available within the grounds. A ramp for wheel chair access is adjacent to the Ballroom Entrance. Recipients using wheelchairs are requested to advise us accordingly. Recipients and those accompanying them should arrive at the Ballroom Entrance of Government House at 10.00a.m. The dress for recipients is uniform, where appropriate, or lounge suit/day dress. Service personnel should consult their respective headquarters on dress. (Medals are not to be worn). Relatives and friends are requested to remain seated and not to applaud until the end of the ceremony. Recipients will be directed to the State Dining Room where they will remain until they receive their award from the Governor in the Ballroom. We suggest that personal items (bags, coats, etc) be left with a family member or left with a member of staff in the cloak room at the entrance to the Ballroom. Private photographs and videos may not be taken during the ceremony, but are permitted at other times. The media and an Official Photographer will be present on this occasion. Contact details for the Official Photographer will be included in the Investiture Booklet available on the day. At the conclusion of the Investiture, recipients and their guests are invited to join the Governor and Mrs Chernov for refreshments in the State Apartments. The function will conclude at approximately 1.00 pm. ***person, individual, peter ellis oam

"The Mechanics Institute movement flourished in Victoria from 1839 to 1950. It was based on the development of Mechanics’ Institutes in Scotland and England from the 1820s, which were intended to educate and enlighten the working classes. The term ‘mechanic’ in those days meant an artisan, craftsman or working man, especially those who had moved from rural areas to work in new city factories during the Industrial Revolution. The early Institutes were usually equipped with a reading room, a library and a lecture room. Although enjoying mixed success in Britain, they contributed to the development of public education and library services. The movement was adopted more enthusiastically in the colonies. It began slowly in Victoria but its expansion after the gold rushes population influx was rapid, especially in rural areas. Every suburb and town wanted to have a Mechanics’ Institute. During the 1850s approximately forty Institutes were established, with even greater growth in the period 1860 to 1900. By 1900 there were 400 Institutes in Victoria. The establishment of a Mechanics’ Institute was often a great achievement for a local community, requiring organising committees to raise substantial funds for a building site (where this had not been granted by the Government), and the building. Once built, the committee then had to purchase books, provide a caretaker or librarian, and finance the ongoing use of and improvements to the building. ‘The history of many Institutes is a story of tremendous community effort, and often, financial difficulties’. In addition to being monuments to local enterprise and community life, the Mechanics’ Institutes played a vital role as an intellectual forum, and in contributing to an informed and participatory democracy in the late nineteenth and early twentieth centuries. They provided journals and other reading matter on local, state, national and international issues, and hosted of lectures and held debates about wider issues such as Federation, colonial nationalism, defence, female suffrage, the price of land and labour. With the development of the school and technical education in the latter part of the nineteenth century, the need for community technical and adult education declined. As a result of the introduction of government library grants in 1867, many Mechanics’ Institutes incorporated a free library in their buildings to finance collection of their books. By 1884-85, there were 257 free libraries in Victoria. However, government support and library grants dropped off in the 1890s depression. Entertainment took on a greater role in the 1890s, with the introduction of moving pictures, billiards rooms, games rooms (chess), concerts and dances. The First World War had a devastating impact on many rural communities, and some Mechanics’ Institutes were no longer viable. On the other hand the early twentieth century was also a time of agricultural development, and many country towns were growing in this period. The 1930s depression further limited growth of many libraries and reduced grants substantially. In response many Mechanics’ Institutes were renamed, for example as memorial halls, in order to retain and attract more patrons (eg at nearby Sunbury). The diminishing role for Mechanics’ Institutes and the preference for larger and better appointed halls (with supper rooms, cloak rooms etc) resulted in demolition of some small Institutes. The advent of cars, radios, and television also provided other opportunities for recreation, learning and entertainment. The greater role of municipalities in providing library services also eroded the need for free libraries. While over 500 Mechanics’ Institutes or halls are extant, very few of these retain their original role as ‘diffusers of useful knowledge’. Most are still available for community purposes, as venues for meetings, socials, civic occasions etc, while others are employed as museums, shops and theatres. Most buildings are on Crown land, and managed by a delegated committee of management, who are responsible for raising revenue to maintain aging buildings. Many of those which were originally established on private land, such as Melton, have since reverted back to the Crown, and municipal Councils. The most common Mechanics Institute building form is the simple weatherboard gable building with iron roofs, notable for their ‘honest simplicity’ rather than as ‘monuments of the ancients’. At the other extreme there are some magnificent two storeyed brick and stucco structures with elaborate ornamentation (as was apparently envisaged by some in Melton in 1905-10)". The future of Melton Mechanic Institute Gazette articlelocal architecture

THE WEEK REVIEWED (Article; Bush Fires: A pictorial survey of Victoria's most tragic week, January 8-15, 1939. Published in aid of the Bush Fire Relief Fund by the Sun News-Pictorial in co-operation with its newsagents, pp2-3) THE fiercest bush fires Australia has known since its discovery are quiescent at the moment, and Victoria, in the comparative coolness of the change which came with rain on Sunday night, has begun·to count its losses. In the fiery eight days, from Sunday to Sunday, at least sixty-six men, women and children have lost their lives in forest fires, or have succumbed to burns and shock; many others have died from heat; and several serious cases of burns are being treated in hospitals. Two babies in Narrandera district have died, and ten others are in hospital, because of milk soured by the record temperatures of those eight days. Forest damage totals at least a million pounds, and incalculable damage has been done to the seedlings which were to have been the forests of the future. Water conservation will be seriously affected by the silting-up of reservoirs and streams from which protective timber has been taken by the all-engulfing flames. More than a thousand houses have been destroyed, and these, with 40 mills, and schools, post-offices, churches, and other buildings, represent a loss of at least half a million. At least 1500 are homeless. For their aid, money raised in appeals has now passed the £50,000 mark, and the biggest relief organisation ever set up in peace time has swung into operation. The First Hint Victoria's first hint of what was to come appeared on Sunday, January 8, when most parts of the State awoke to find a blistering day awaiting. At 12.20 p.m., when the thermometer reached its highest for the day, 109.6 degrees, the first fire victims were at that moment going to their death on a bush track five feet wide off the main road to Narbethong. They were the forestry officers Charles Isaac Demby and John Hartley Barling, who went to warn Demby of his danger when he parted from his companions, and was himself surrounded by the treacherous fire. It was not until 8 o'clock next morning that the tragic news was flashed throughout the State. Searchers found the two charred bodies close together, one seeking protection in the nook of two logs. Barling's watch had stopped at 1.20. In the meantime, tragedy was spreading its cloak. By Monday, big fires were raging at Toolangi, Erica, Yallourn, Monbulk, Frankston, Dromana, Drouin South, Glenburn, and Blackwood, with smaller outbreaks at many other centres. In the ensuing week, while women and children were evacuated as fast as the flames would permit, Erica-scene of the 1926 fire disaster-thrice escaped doom by a change of wind. Indeed, those who have been in the fire country these past days say that the numbers of times a change of wind has saved towns from destruction is amazing. In the towns they speak of miracles. Monday's Miracles The escapes from Monett's Mill at Erica and from the Hardwood Company's Mill at Murrindindi, near where Demby and Barling went to their death, were Monday's miracles. Twenty came out alive from each mill. At the first a 60ft. dugout provided an oven-like refuge; at the second, 12 women and children survived in the smoke-filled gloom of a three-roomed cottage while their eight men, their clothes sometimes afire, poured water on the wooden walls. Three houses out of ten remained when the fire had passed. Record Temperatures Sunday had been the hottest Melbourne day for 33 years; Monday dropped to a 76.1 degree maximum; but Tuesday dawned hotter than ever, the mercury reaching 112.5. By now rumor was racing ahead of fact; whole towns were being reported lost; the alarm was raised for scores of missing persons. But fact soon overtook rumor, and within a few days the staggering toll began to mount to a figure beyond the wildest imaginings of the panic-stricken. Six died from heat on this torrid Tuesday, and the fires spread in a wide swathe from south-west to north-east across the State. Fish died in shallow streams. A curtain of smoke hid the sky from all Victoria, and hung far out to sea. It alarmed passengers on ships. On the Ormonde, on the voyage to Sydney from Burnie, women ran on deck, believing fire had broken out in the hold. Days later the smoke reached New Zealand. In Melbourne thousands of fire-volunteers were leaving in cars: vans, motor-buses-anything reliable on wheels-to aid the country in its grim fight. In the fires at Rubicon and. Narbethong, seventeen were facing death this day. But not till Wednesday, when Melbourne breathed again in a cool change, while the country still sweltered in temperatures up to 117 degrees, did the news come through the tree blocked roads. A woman and her little daughter, trapped on the road, were among those who died. Their bodies, and those of menfolk with them, were found strewn out at intervals along the road, where the furnace of the surrounding fire had dropped them in their tracks as they ran. Twelve died at a Rubicon mill, five on the road at Narbethong. At Alexandra, not far distant, a baby was born while the fires raged, and stretcher-bearers brought in the injured. On Thursday the State Government voted £5000 for the relief of fire victims. The Governor (Lord Huntingfield) and the Lord Mayor (Cr. Coles) visited some of the stricken areas, and dipped into their pockets personally. Later, the City Council, too, voted £5000. Friday, The 13th Friday, the Thirteenth, justified its evil name. A blistering northerly came early in the morning, presaging destruction, and forcing the mercury to a new record of 114 degrees. Racing fires killed at least ten in those terrible 12 hours. Four children were engulfed in the furnace at Colac. Panic drove them, uncontrollable, into the smoke-filled road when the fire raced down behind their home. They choked to death. In other parts fires were joining to make fronts of scores of miles. Kinglake was being menaced on two fronts, £60,000 worth of timber was going up in smoke in Ballarat district. Warburton was surrounded. Residents at Lorne, favoured resort, were being driven to the sea-front by a fire which destroyed at least 20 homes. Healewille. with flames visible from the town at one stage, was in a trough between two fires which burned four guest-houses, seven homes and left its surrounding beauty-spots wastes of bowed-over, blackened tree-fern fronds; with its famous Sanctuary, however, intact. Most of Omeo was destroyed this black day: Noojee. while 200 residents crouched in the river, was being reduced to a waste of buckled iron and smoking timber; Erica was once again saved by a change of wind. Beneath a pall of smoke, the Rubicon victims were buried at Alexandra. Friday night and the early hours of Saturday saw the streets of beleagured towns strewn with exhausted fire-fighters. Their flails beside them, ready for the next call, they lay where exhaustion overtook them-on footpaths, beside lamp-posts, in gutters, in cars, under trucks. Saturday's dawn brought clear skies and lower temperatures in many parts, and from the burnt-out areas came a great rush of tragic reports. The death-roll rushed past the fifty mark with incredible speed. Some had been trapped on roads, others at mills; some, after burying their treasures, had clung too long to the places they had made their homes for many years. Four men lost their lives because one went back for his dog. By Sunday, when the first of the saving rain came, nearly another score of names had been added to the list.Newspaper magazine, 48 pages (incl. covers). Fully digitised and searchable PDFPublished in aid of the Bush Fire Relief Fund by the Sun News-Pictorial in co-operation with its newsagents.bushfires, 1939 bushfires, black friday, warrandyte

Index, bibliography, notes, ill, maps, p.266.non-fictionStephen Bungay's Alamein is a trenchant re-examination of an event now cloaked in myth. Though the propaganda of the time focused on personalities, this was a desert war, he reveals, determined largely by logistics. In a conflict that for two years had ebbed and flowed along the North African littoral, victory was always going to go to the side that mastered its supply lines - in Britain's case not least by withstanding the epic siege of Malta. He also gets beyond the polemics and eulogies of many past writers in re-assessing Alamein's chief protaganists, Montgomery and Rommel, to show how it was precisely the most unattractive side of Montgomery's character that was needed to transform the Eighth Army into a force capable of fighting a battle it could win.battle of alamein - 1942, world war 1939-1945 - campaigns - north africa

Aimed at primary aged children, contains stories, activities and information to assist in education the young person.games, colour illustrationswurundjeri, woi wurrung, stories, activities for children, educational resources, possum skin cloaks, primary school education

Line image of a Corroboree of Victorian Aborigines.aborigines, aboriginal, corroboree, celebration, dancing, camping, campfire, possum skin cloak

Maree Clarke is a pivotal figure in the reclamation of south-east Australian Aboriginal art and cultural practices and has a passion for reviving and sharing elements of Aboriginal culture that were lost – or lying dormant – as a consequence of colonisation. She a leader in nurturing and promoting the diversity of contemporary Koorie artists through her revival of traditional possum skin cloaks, together with contemporary designs of kangaroo teeth necklaces, river reed necklaces and string headbands adorned with kangaroo teeth and echidna quills. River Reed Necklace forms a key element of the artist’s practice regenerating cultural practices and strengthening cultural identity and knowledge. Maree Clarke has exhibited widely both nationally and internationally, and in 2021 she was the subject of a major survey exhibition Maree Clarke – Ancestral Memories at the National Gallery of Victoria. Other recent exhibitions include Tarnanthi, Art Gallery of South Australia, Adelaide (2021), The National, Museum of Contemporary Art Sydney (2021), Reversible Destiny, Tokyo Photographic Museum, Tokyo Japan (2021) and the King Wood Mallesons Contemporary Art Prize, for which she was awarded the Victorian Artist award. In 2020 she was awarded the Linewide Commission for the Metro Tunnel project and was the recipient of the Australia Council Aboriginal and Torres Strait Islander Arts Fellowship.