Earthenware is lightly fired, readily absorbs water if not glazed, and does not allow light to pass through it. Coarse earthenware is made from clay and grog (ground up fired pot). There are two main types of glazed earthenware: One is covered with a transparent lead glaze; when the earthenware body to which this glaze is applied has a cream colour, the product is called creamware. The second type, covered with an opaque white .in glaze, is variously called tin-enamelled, or tin-glazed, earthenware, majolica, faience, or delft. G&S marking could be Grove & Stark, Longton, England (1871-1884). In the 19th century, J. & G. Meakin ,1851 based in Hanley, Stoke-on-Trent, Staffordshire, was known for the vast quantities of cheap ironstone china it produced for the domestic English market and for export to Australia, Canada, New Zealand and the United States. Grove & Stark were taken over by Meakin early 20thC The Mark could also be Gibson & Sons (Ltd), were notably manufacturers of earthenware Burslem, Stoke-on-Trent. Founded around 1885 and traded until the mid 1970's. They were previously Gibson, Sudlow & Co. Manufactured between 1885 to 1905. Small earthen-ware, black-glazed tea-pot. 8 sided. The body of the tea-pot is decorated with hand-painted gold flowers and raised cream flowers. The lid is also hand -painted with green leaves and flowers. This floral pattern is named "Garland" The lid is not of the same pattern as the base. The spout was broken when brush tailed possum entered Cottage via chimney 27/4/2014. Can be repairedOn the base of the tea-pot. Makers Mark is G & S. "Garland". (Pattern), Rg. No. 175153. Also 'Made in England'. Under glaze there is the word: England.crockery, earthenwarre, gibson & son ltd, grove & stark ltd, pioneers, early settlers, bentleigh, market gardeners, moorabbin, cheltenham, pottery, stoke- on - trent, england, longton, burslem, wedgwood

Sepia photo on cream board, copy of original. Shows scene near Big Hill from Mr. Buick's residence. Inscription: Above image, 'Views of Bendigo|No.47.'. Below, 'Scene near Big Hill ranges, taken from Mr. Buick's Residence.','N.J.Caire Photo, Sandhurst'. Bottom, 'Casey & Wenborn's Print Forbes & Holmes, Agents',' Mount Alexander in the distance. Mr.Moffit's Sheep Station, Ravenswood, |can be seen this side of Mt. Alexander.'. On Back, 'RHSV stamp, Bendigo Branch '1959|70'. (Two copies) Nicholas CaireN.J.Cairecottage, miners, see: 'views of bendigo' by n.j.caire

Document, Sedgwick, was known as Upper Emu Creek until 1901. It is located ten miles south of Bendigo in hilly sedimentary and granite country.The first freehold grants were taken up in 1854. In 1861 the Strathfieldsaye Road District was Proclaimed. Five years later it became the Shire of Strayhfieldsaye.Mining west of the Axe Creek commenced in 1863. Agriculture, farmers made modest livings from vineyards, orchards,dairy cattle, eggs and tomatoes. The Osborne family had seventy acres planted to apples. Prior to 1934 Favaloros collected cream from district farms, then fresh milk in cans was carted to Bendigo until 1970.document, sedgwick

Cards were sent by John Coleman in response to letters of support received after he injured his knee in 1954. He never played again. Thank you card on cream cardboard with rounded corners and message in calligraphy script printed in blue ink; message reads: "Sincere thanks for your kind expressions of Sympathy and Good-will during my recent football injury. I can asssure you it is deeply appreciated. John Coleman." Handwritten message in blue ink on back of card reads: "Thanks, Ray, for your very nice letter. The "Dons" are going along well now, don't you think. (Should make the four). Kind regards, John Coleman. essendon football club, john coleman

This Commode Chair has been skillfully adapted by a bush carpenter from a kitchen chair - possibly for an invalid at a time when toilets were usually outside and often difficult to reach. The hinged seat is held up by a wire hook (No.8 fencing wire), and the seat can be lifted to remove the commode pot. The cream paint is of the type universally used for kitchen furniture before a more diverse range of paint colours became available.A wooden commode chair converted from a kitchen chair with four round legs and a hinged seat. Underneath is a hole to hold chamber pot or covered commode. The backrest consists of three turned spindles between squared timber that supports a carved rail across top. It is painted with cream paint that is rather worn.chairs, adaptation

Brought to Australia by Dutch migrants in the 1950s. Used for slow cooking of dishes such as soups and stews.Cream enamel with green upper rim. Three-legged. Consists of two circular compartments, the lower one of which is the kerosene tank. Adjustable wick in holder attached to a handle with which the wick can be raised and lowered. Spare wick in tank. Upper compartment has small brass porthole with glass centre through which to monitor flame. Inside bottom of upper compartment there is a longitudinal slit within an oval raised section. Perforations around slit for ventilation. Steel trivet on top has five pointed star pattern. household item

2 NAL - Rinadeena - (Mt. Lyell) O 2; 2 NBL - 1st. class saloon car (20) NAL FIRST-CLASS SALOON CAR. Four saloon end-platform cars originally built during 1901–1902 by the Lancaster Railway Carriage and Wagon Company Ltd. for the 3'6" gauge Mt. Lyell Mining & Railway Company in Tasmania and classed O. Converted for use as second-class cars on the 2'6" gauge Puffing Billy Railway during 1965–1966, these cars were reclassified NBL and numbered 1–4. The L recognises their Mt. Lyell origin, No. 1 was kept for use as the Railway's VIP car and was reconditioned to a higher standard. No. 2 was similarly upgraded in 1985 for use on special occasions. In 1989 No. 3 was similarly reconditioned with No. 4 receiving similar treatment in 1995. These cars were re-classified NAL in recognition of their new first-class nature. The Mt Lyell Railway was closed in 1963 and subsequently dismantled, but fortunately several of the locomotives and carriages passed into preservation. Purchased by the Puffing Billy Preservation Society from the Mount Lyell Mining & Railway Company in the 1960's and converted to 2' 6" gauge. It has since given many years of service on the Puffing Billy Railway. TASMANIAN CARRIAGES & GUARDS VANS No. Builder Type Year built Ex. Location Note NAL 1 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Mt Lyell NAL 2 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Rinadeena NAL 3 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Teepookana NAL 4 Lancaster Railway Carriage and Wagon Co Saloon 1901 Mt Lyell Railway Named Dubbil BarrilThe Rinadeena is a stunning example of a classic narrow gauge 1st Class Saloon Carriage, used as a luxury edition to train travel in the late 1800s and the 2NAL within Puffing Billy's collection was purchased by the Puffing Billy Preservation Society in the 1960s, where it underwent restoration to become part of the railway's historic transport collection.A timber and iron saloon car - painted in crimson with a name plate 'Rinadeena' attached to the centre of the carriage and the words '2 NAL' painted in white directly below. The word 'FIRST' is painted in gold at both ends of the carriage. The car has nine windows on either side of the carriage and a wrought iron ballastrade upon entry at eiether end of the carriage as well as iron steps to ascend. Inside the carriage are 10 bench seats made of wood and leather and ten tables for dining. The windows are adorned with cream cloth fabric and above each bench are wrought iron luggae racks. The ceiling is covered in cloth and features two suspended ornate glass and metal light fixtures. A wooden door with two glass panels can be found at both ends of the carriage.2 NAL - Rinadeenarailway carriages, first class saloon, narrow gauge, rinadeena, mt lyell, transport, travel, leisure, luxury

Started in 1936, the aim of the Pilots was to capture the imagination and the devotion of children for the service of the Kingdom of God and to begin the training for membership of the world wide church of Jesus Christ. Pilots was mainly a week-night activity to supplement the training which boys and girls are given on Sundays, either through Family Church courses or approved Sunday School guides. Many churches were already using the lesson courses prepared by the Youth and Education Department of the Congregational Union for the Family Church. A Pilot company consisting of six or more boys meet regularly under the leadership of a Captain. The Pilot's promise was "I will learn, pray and serve all I can in the world-wide church of Jesus Christ". [from "Compass : for Pilot Captains" book 1947]BN057 and BN004: Rectangular blue and green screen printed cream linen flag with cord and wood toggle at one sidePILOTScongregational church, pilots - congregational church, flags, congregational union, london missionary society

The Boyd family recall how Robin Boyd loved gadgets for their beautiful industrial design and their functionality.Juice-O-Mat. Metal handle on right-hand side, metal squeezer on top. Cream coloured body to hold cup. When the handle pulled back the fruit can be inserted.On base: SINGLE-ACTION Juice-O-MAT. US CAT NO 462-C. Rival MFG. CO Kansas City MO. U.S.A.gadget, walsh st appliances, robin boyd, ohm2022, ohm2022_11

Powdered milk was sod in cans before plastic packaging was introduced. The Nestle Company manufactured the Sunshine powdered milk in Australia and was made from full cream pasteurised milk which had the water content removed from it this would then allow the tins of powdered milk to be transported without refrigeration. The powdered milk could then be made up by adding water at the recommended quantities as per directions on the labels.A white, and green paper covered rusty tin. The front of the label is printed in black advertising Sunshine full cream milk powder. The back has recipes printed on it.Nestle/SUNSHINE/milk/FULL CREAM MILK POWDER/NET 3LB - AUSTRALIAsocial history, cooking, domestic food and drink, milk products, powdered milk

Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Purchased in Illinois, USA, in the 1950s. Comes with instruction manual and additional blades, all of which appear unused. Made by Logan brand who are still in operation today. This is model 401 which is not manufactured currently.Black plastic and yellow plastic box with white foam-core base and side walls. Mat cutter is a black metal base/frame with horizontal ruler attached within. Steel handle at front with mounting area for blade. Blade is stored flat within base but can be turned to protrude through the bottom of the frame which allows it to cut carpet. 4 additional unused blades stored in small brown paper envelopes. Faded cream coloured single page paper folded instruction manual.

Steel framed folding babies basket. The frame painted cream has four swivelled small roller wheels attached. The basket frame can be removed by unscrewing four round knobs and the frame can be folded flat. The basket has a canvas base and sides woven with cotton cord. The basket is fitted with a pink liner with broad lace edges. Ther are two pockets sown onto the inside of the liner. The liner is in poor condition.The Universal Folding Basket. H & C printed on canvas base.

This rug was woven in the mid-1990s at the Tascot Templeton Carpet (TTC) mills in Devonport, Tasmania. It was an in-house design. The rug was woven as a one-off design exercise and was given a Golden Thread Award by the Australian Wool Corporation. The design never went into standard stock production and was never released for public sale. This rug has been woven with 100% wool on a 1 metre wide loom. The loom was purchased by TTC from United Carpet Mills of Preston and the rug was woven to demonstrate the capabilities of these looms. This rug is an example of Wilton weaving. Wilton differs from Axminster in that it is usually Loop Pile and 100% wool whereas Axminster is Plush (cut) pile and normally 80/20 wool nylon blend. TTC manufactured primarily high-quality narrow and broad loom, Axminster and Wilton carpets for the domestic and commercial market. They operated from the early 1960s until their closure in 2011. This rug was also on display in the Tascot Templeton head offices before being donated to the National Wool Museum in 2021 by Roger Warn. 3 x 3-meter carpet rug woven in 1-meter wide sections. The pattern repeats 3 times both in the width and the length. Starting from the bottom left corner, a square can be seen within a larger circular shape. These circular shapes connect end on end across the width and length of the rug. 5 Circles make up the length of the rug while 6 circles make up the width. Numerous small shapes encompass the entirety of the rug. These small shapes work together to form many interconnected repeating forms that draw your eye in a new direction every time you look at the rug. The predominant colour of the rug is a purple background with blue, cream and orange colours making up the foreground colours.carpet rugs, woollen rugs, tascot templeton carpets, axminster carpet loom

These wool undervests were purchased by Edith Bender for her husband Edwin, prior to 1963. Edwin would catch a ‘Red Rattler’ train along the North Shore line to go to work in Pitt Street., Sydney. Edith was concerned Edwin would catch a cold in the unheated train or in his unheated office, so she brought these woollen undervests for him to wear to work. Edwin would wear the undervests under a woollen suit and with a woollen overcoat. Edwin passed away in 1963, at which point Edith stored the undervests away. They were passed to Edith’s daughter when Edith passed away in 1980. They were then passed to Tanya Davis on the death of her mother. Tanya donated the undervests to the National Wool Museum in 2021.2x cream wool undervests. Henley style with short sleeves and three buttons at the front. Labels from the maker ‘Braemar’ have been stitched to the neckline of both vests. An additional label is stitched under the first button on the front of both undervests. Label stitched to neck of vest: BRAEMAR / MADE IN SCOTLAND / OPTIMUS / PURE WOOL / TREATED TO RESIST / SHRINKAGE / QUALITY / B. OPTIMUS Label stitched to front buttons of vest: MADE IN SCOTLAND / FOR FARMER’S / SYDNEY Attached swing tag: BRAEMAR / The WASHING of WOOLLENS / PREPARE a bath of good bar or flake soap, thoroughly dissolved in water not hotter than the hands can bear. Squeeze the garments through the hands several times in the bath. Don’t rub them on a board. Rinse in warm water until soap is thoroughly removed. Wringing should be done in the hands. Stretch well to width and length and dry at once, preferably in the open air Stretch again in the hands when dry. Attached swing tag. Reverse: IMPORTANT POINTS / Do not use soda or washing powders. / This garment must not be subbed on a board, or subjected to mechanical friction.red rattler, wool clothing

This blanket was owned by the Rosenberg family from the late 1950s onwards. It was the donor Denise’s blanket. Born May 1958, her late mother Elfie kept it safe for many decades after Denise had outgrown it. Elfie returned the blanket to Denise 20 years ago, in its current near new condition. Jacques Rosenberg and Elfie née Naparstek, Denise’s parents, met in Melbourne in the Summer of 1950. They both survived being young and Jewish in Europe during the Second World War. Jacques grew up in France and Elfie in Germany, she was a child of the Kindertransport. They married in 1952 and by 1958 had a son and two daughters. Denise, the youngest daughter, donated the blanket on behalf of the Rosenberg family to the National Wool Museum in 2021. The Kindertransport was a program designed to facilitate the immigration of Jewish children from Nazi Germany before the outbreak of the Second World War. The United Kingdom took in nearly 10,000 predominantly Jewish children from Germany, Austria, Czechoslovakia and Poland. The children were placed in British foster homes, hostels, schools and farms. Tragically, these children were often the only members of their families to survive the tragedies that were to unfold in Europe. Fortunately, Elfie’s parents did survive World War Two by sneaking out of Germany and into the south of France. After Elfie and her sister Serry were Kindertransported, they met up with Salma and Risla Naparstek in Paris in 1947 before migrating to Australia. This blanket originates from the Eagley Mill. They manufactured woollen, worsted and knitwear products from their mill located in Collingwood. Part of Foy & Gibson, the mill had frontages measuring almost two miles within the area bounded by Little Oxford, Wellington, Stanley and Peel Streets in Collingwood. This was the largest manufacturing plant for wool in the Southern Hemisphere at the time. It was also one of the oldest. The first machines for knitting men’s socks were installed in 1896. The site ultimately went into receivership while under new ownership in 1968 and is now high-end real estate. More information about the Mill can be read via Unimelb digitised collection. https://digitised-collections.unimelb.edu.au/bitstream/handle/11343/21262/269411_UDS2010852-85.pdf?sequence=18&isAllowed=y 38”x45” (965 x 1145mm) cream wool blanket. The blanket has white stitching around its edge. Embroidered in the centre of the blanket is a koala eating leaves with accompanying flowers on either side of the marsupial. In the bottom right corner of the blanket a small square label from the Eagley Mills is stitched. This label includes the images of a Sphinx head, a pyramid and a baby’s crib.Eagley / ALL / WOOL / 38”x45” / AWARDED THE CERTIFICATE OF / THE ROYAL INSTITUTE OF / PUBLIC HEALTH & HYGIENE LONDONkindertransport, eagley mill, blanket

Hinged food mixer with egg beater blades of chrome plated steel. Brass handle, chromed. Base worked steel painted with hammertone paint. White plastic base to hold missing lemon squeezer. Bowl to mix in missing. Has five small rubber legs.Has a planetary action and is hand driven. Beats eggs, cream and potatoes. The juice can run down into the basin when lemon is squeezed.domestic items, food preparation

This ammunition bag was used by Harry Mitchell (son of Lindsay Mitchell) at the Bendigo Rifle Club in 1959, the bag was designed to hold 303 riffle bullets used in target shooting or could hold 7 cartridges for a shotgun. The Gladstone bag was very popular in the 1940/50 era, it fitted on the handlebars of a bicycle and it was used by footballers and sportsmen. A couple bottles of beer would fit comfortably in the bag and was.used to take beer home after the hotels closed at 6pm. These two articles were donated by Lindsay Mitchell to the Numurkah Historical Society. The Sunbeam Mixmaster belonged by Marjory Welch, Nana of Margaret Mitchell and would have been used in late 1930 and during 1940's. It was painted and used by Linda Mitchell, (great great grand daughter) when at universitv in 1987 White Sunbeam Mixmaster was purchased by Margaret Mitchell 1965. lt was her first mixmaster after she was married in 1964 The bread bins. The green and white belonged to Mary Mitchell (Lindsay Mitchell's Mother) The colourful bread bin belonged to Lorna Welch (Margaret Mitchell's Mother) 1 x Ammunition bag, (1950's), 1 x Gladstone bag (1950's), 2 x tin bread bins, 1 x White Coloured Sunbeam Mixmaster (1965) , 1 x Cream-coloured Sunbeam Mixmaster (1940's), 1 x Red Fly-spray can (1950's)mitchell family, gladstone bag, mixmaster, school bag, bread bin, kitchen, ammunition bag, sunbeam, flysprayer

'Souvenir of Melbourne Legacy’s 25th Anniversary Dinner held at 9 Darling Street on November 3rd 1948.' A satirical ode written to commemorate the 25th Anniversary of Legacy. The author's name isn't recorded. Many Legatees names are mentioned in the story it tells. One of the final stanzas shows the spirit of comradeship and sense of duty. 'Here's to our sweethearts and wives, who can still raise their smiles for us! Here's to our friendships, like star-shells lighting the miles for us! Here's to the kids! May they vigilant be for the freedom we've known, Standing up for the right, standing in with our own . . . Britons within their realm, and the Dominions, our brothers . . . Tackling, if need be, tyrants abroad . . . and, maybe some others.'The Legatees celebrated the 25th Anniversary of Legacy with a dinner and this poem was published as a souvenir.Booklet x 12 pages, containing a poem, brown print on cream paper, made as a souvenir of Legacy's 25th Anniversary Dinner.silver jubilee, 25th anniversary, poem

Cream and Maroon Booklet Bendigo Operatic Society Theatre Programme 'No No Nanette' A Musical Comedy in Three Acts. Capital Theatre Bendigo May 1, 2 and 3, 1957 8 pm. Arranged by Samuel French Ltd. Producer Norman Lee. Musical Director Max O'Loghlen. Cast: Greta Smyth, Ruth McLennan, Brian Brewer, Barbara McGregor, Voronica Blanch, Harry brewer, Brian Thomas, Betty Cullen, Dawn Beckwith, Jean Cannon, Rhonda Miller. Songs Include: 'The Call of the Sea', 'I Want to be Happy', 'No, No Nanette,' 'Tea for Two', 'How Do You Do,' 'Too Many Rings Around Rosie', 'You Can Dance With Any Girl,' 'Take A Little One-Step', 'It's A Pity to Say Goodnight.'Cambridge Press Bendigo.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/no, _no, _nanette

Blue and cream brochure titled 'Off to the Diggings' In the comfort of your own car. Tour guide is Rusty. Tours cover some historical places in Bendigo. On the back is where bookings can be made. Other Historic Tours mentioned are: Central Deborah Mine, Chinese Museum, Mining Museum adjacent to Eaglehawk Town Hall and victoria Hill.bendigo, history, gold mining, peter ellis collection, off to the diggings, rusty, alexander mckellar, ballarat goldfield, eureka uprising, emu creek bush band, boundary hotel, visitor information centre, bendigo tourism, central deborah mine, chinese museum, mining museum - eaglehawk, eaglehawk town hall, victoria hill

Photograph shows Ballarat 21 descending the Lydiard St Hill at the Seymour St intersection, about the enter the loop. On the left can be seen a Forest City signal, and on the right part of the North Star Hotel, The tram has the destination of Sebastopol. In the background is a milk bar advertising The Sun, Herald and Peter's Ice-cream. Photographer unknown. Late 1960's or early 1970s.Yields information about tram 21 and tram services in Lydiard St North.Black and white print on paper.tramways, ballarat, lydiard st nth, seymour st, tram 21, north star hotel

An unsealed Wilson dome-top tennis ball can with lid. Key and seal strip lost. Contains three unbranded cream-coloured balls. Materials: Metal, Inktennis

An unsealed Wilson dome-top tennis ball can with lid. Key and seal strip lost. Contains three unbranded cream-coloured balls. Materials: Metal, Ink, Rubber, Felttennis

The borders of the main components of Kew and Kew East have not always conformed to current boundaries. In the past this photograph has been labelled as East Kew, whereas for most of the twentieth century the site has been within Kew's borders. The purpose of the photograph is unrecorded yet it has value in that it shows those businesses who occupied this site in Kew during the early 1960s.This small photograph is significant as it shows the location of and building used by WD Vaughan, former Mayor of Kew who was a successful newspaper proprietor in Melbourne.Small polaroid colour positive of High Street in Kew, probably in the 1960s. From left we can see the brick viaduct covering the tracks of what was once the Outer Circle Railway. Behind this brick wall, Dunnings Timber Yard was situated. At the end of the walls of the viaduct there is an entrance to a walkway [now the Anniversary Trail], which once provided access to Windsor Avenue, and also to the East Kew Station (now demolished and part of the Outer Circle Railway Reserve). On the other side of this walkway is a cream brick building (demolished) occupied at this time by WD Vaughan Pty Ltd, printer and publisher of the Kew Advertiser (newspaper). Stretching behind the brick facade is an extensive building that must have housed the printing works. Beside Vaughan's, there is a large building (demolished) housing at that time an estate agent named AJ Kennedy. This area is now separated by kerbing.High St East Kew / Corner of Harp Rd. / Looking South

Painted from the home (or front) paddock which ran south to the creek. The paddock was used for the cultivation of lucerne and maize crops in the lower regions while closer to the house where Ainwick Crescent is now situated, it was a burgeoning market garden for the cultivation of all varieties of vegetables. The large pines beyond, sheltered the farmyard on the west of Gardenia Road. That complex can be partly glimpsed on the left of the painting. This is a directly painted watercolour relying on the use of white paper and transparencies to impart a feeling of morning light. The figure is the artist's mother for whom the picture was painted. Provenance: Augusta Borrack (nee Ziebell) Collection, John Borrack CollectionWatercolour painting, depicting Ziebell's Farmhouse from the south (Thomastown and Mernda). Painting is mounted in a gold frame with cream board.Artist signature: John Borrack; Last Days at Ziebells "The Pines" Thomastown, 'Pro mea matre hanc picturan feci (In Memoria)'illustrations, watercolours, john borrack, ziebell, watercolour, painting

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Beryl initially lived in East Melbourne after they married. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. The children attended Mont Albert Central School. The photo was taken at the Kidd family property. The location of this has not been able to be traced. It may be in a rural area. This is part of a large donation related to the Deakin, Mair and Young families with connections to the Surrey Hills / Mont Albert area.A sepia copy photo with a cream border depicting 5 children in a back yard; the 3 girls and one boy are sitting on a rustic seat made from roughly-sawn timber; the other boy is standing behind them. All are looking away from the camera. The setting is a back yard with a high paling fence and rudimentary garden. A feature is a tree trunk turned into a seat. Behind the fence the rear of the house next door and the crown of a large eucalypt can be seen. REAR: In blue biro - "Gwen Beryl Isabel / Geoff (at back) / Bruce Kidd (2nd cousin / at his place" Handwriting is thought (at back)to that of Beryl Young (nee Mair). "39" in lead pencil on mid LH edge.children, back yards, beryl mair, geoff mair, isabel mair, gwynne mair, gwen mair, bruce kidd

Hand held cream coloured plastic optical magnifier with small globe inset under lenses. The black button on handle turns globe, which is powered by batteries, on and off. The magnifier can be detached to replace the globe or exchanged for a different strength. Cream and black handle with a black button to turn on light and a detachable magnifying glass attached at top.6/100 on magnifierassistive devices, ecshenbach