This 236 page, full-colour hard copy reference work, catalogues the metal insignia embellishments used by all Corps and Schools of the Australian Army (including philanthropic organisations), from 1953 through to the present. The book provides images of the front and the back of a given (metal) insignia set for each Corps etc. Each image set depicts the relevant hat badge, collar badges and epaulette title and/or cloth shoulder title applicable. The book's images record three distinctly different 'generations' of insignia manufacturing methods/types, including the: gilt brass and white metal items used in the 1953 to 1964 period; and anodised aluminium 'StayBright' insignia introduced as from 1964[ and 'BriteShine' insignia introduced with effect from 1997 (running through to the present). The full colour photographic images in the book are complimented by written descriptions which cite each item's distinguishing characteristics... including measures of: typical weight, height, width and thickness (at a given point). A discussion of copies and faked items is also provided, including microscope resolution images of 'tell tale' signs to look for. The entries in the book are organised alphabetically and match those used in the Authors' 614 page eBook version of this work (the eBook is a separate edition which provides scalable images of all relevant insignia and many manufacturing variants).The hard copy and electronic editions of this work are able to be used either separately or concurrently, as and when users require. Regards Mark Corcoran & Arthur Butler The Authors charlibravobooks.com Re: Copyright As the original authors we hold the sole copyright authority to sell this work. This item does not infringe on any copyright, trademark and/or intellectual property rights and we hold specific written publication approval from the Australian Defence Force. Soft cover, spiral bound 235 pagesaustralian army, post ww2 insignia

This photograph is of Christina Giles, who died in Wangoom, Warrnambool, in 1899 at 7 years, 5 months and 4 days old and is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Jordan, Warrnambool refers to Joseph Jordan who operated a photographic studio in Warrnambool from the late 1880s. His work was prevelent in Victoria's Western District of Victoria.This photograph of Christina Giles is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation and the high mortality rates amongst children during the early years of colonial settlement. The photograph is also significant for is association with renowned Western District photographer, Joseph Jordan.Photograph of Christina Giles standing on chair in a decorative carved wood frame with floral design in abstract shape. Photo by Jordan of Warrnambool. Christina Giles died in Warrnambool in 1899 at 7 years, 5 months, 4 days of age. It is part of the Giles Family Collection. "Jordan Warrnambool" ( Photographers) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, christina giles, giles collection, giles family, giles history, henry and mary giles, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century personal effects, joseph jordan, jordan photography

James McKain MEEK (1815-1899) Born England Arrived Australia 1838 James Meek was an artist who built the first house at Ballarat. He wrote 'designed, composed and written with pen and ink by James Meek (founder of the City). When this work was completed the in 1893 the Ballarat Star described the work: - "An Industrial Inmate. At the conclusion of Monday's meeting of the Ballarat Benevolent Asylum Committee one of the inmates, named James McBain Meek, having been introduced, laid upon the table a magnificently executed work of art, bearing the following inscription: - The past and present of Ballarat, or 40 years' progress from an uninhabited wilderness, 1852 to 1892, during which time it has become the grandest inland city of the Southern World. It stands unrivaled by that of any city in her Britannic Majesty's extensive domain over which the sun never sets, and o'er which Albion's beloved sovereign sways her benign sceptre." The work conveys by words and pictorial representations a complete history of Ballarat from its inception up to the 17th March inst. The various pillars and scrolls by which the many incidents that are related are surrounded are marvelously executed, the plain and ornamental lettering is exquisite; while the language used in the narrative is of the most eloquent and refined description. Sketches of the Ballarat Hospital and Benevolent Asylum, equal to any photographic picture, are shown at either end of the word " Ballarat," which occupies the most central position of the chart. The work, which is worthy of a position in any public library or private residence, has been designed and composed by Mr. Meek, who is 78 years of age, at the Asylum. It is done entirely with pen and ink, and was commenced on the 22nd October, 1892, and completed on 17th March, 1893. (Ballarat Star, 27 March 1893)Although 'Past and Present Ballarat of Forty Years of Progress from an Uninhabited Wilderness' was printed it appears that few have survived the ravages of time. Another copy of this works survives in the collection of the Australiana Room at the Central Highlands Regional Library Corp. No others have been located to date. (2012)Large black and white poster (now brown with age) with the hand drawn work of James Meek reproduced by the Ballarat printers Rider & Mercer. Many, but one includes 'Most respectfully dedicated to the native born children of European parents in the Ballarat Mining District by the author.'ballarat, james meek, meek, ballarat benevolent asylum, nazareth house, ballarat mayors, james bury, james oddie, la poer trench, welfare

Levy Sons & Co. 1895-1919 Paris, France and London, England In 1864 the Parisian photographic studio of Ferrier pere*, fils & Soulier was bought out and became M. Leon & J. Levy. This partnership lasted until 1872 when Leon left and it was renamed J. Levy & Co., which became an important producer of stereo-views and lantern slides. By 1895 his sons had joined the company and it was renamed once again to Levy Sons & Co. (or Levy et ses Fils). His son Lucien became a well known photographer who began publishing international view-cards from his own work depicting scenes mostly from within the French empire, though quite a number are from England and there are some from Australia and Russia as well. There are few French towns that are not captured by his cards. His name does not appear on the cards but - L.L. follows the title as a photo credit. Many of their cards are not attributed. These cards were printed as colotypes in black & white, sepia, and over speckled color lithography. In 1920 the studio united with Neurdein Freres to become Levy & Neurdein reunis. Their negatives are now owned by the Roger-Viollet Photographic Agency. *Claude Marie Ferrier (1811-1889) was also an important early photographer. He was the 'Pere' in Ferrier Pere, Fils & Soulier - best remembered for their stunning series of glass views. Sorting this collection is a challenge. The postcard rears display a variety of forms - a) garland emblem with LL inside, b) with an addition emblem within (FPS?). Or c) - no emblem which may mean production by another company - however LL. remains on the front as a credit to the photographer. http://www.metropostcard.com/picslogos/pcl-levylucien.jpg.jpg http://www.unpi.com/clem/unpostcards/LON1919PC2Naback.jpg Example Colour Card circa 1920 No. 78 Paris - L'Escalier de l'Opera - LL. http://www.postcardcollector.org/forum/index.php?p=/discussion/1306/levy-fils-cie-paris-specifically-lucien-levy-llAbbeyville was a town in the Somme, so that this is a possible reason that the name has been erased on the postcard. http://www.france-voyage.com/travel-photos/abbeville-11435.htmSmall brown covered book of 12 postcards with views of Abbeyville in the Somme. Issue between each each individual postcard. The cover has an oval on front and the name "Abbeyville" in its centre has been erased. The name of the town has also been erased (censored) throughout the booklet. There is a garland in maroon around the maroon oval on the front cover. Print in dark grey on bottom left and right hand side corners.Print "Modele ... Depose" in dark grey on bottom left and "12 Vues Detachables" on right hand side corners. Names of places printed inside but the name of the town has been erased throughout. "Carte Postale" with logo underneath at centre and "Correspondence" LHS and "Adresse" RHS on top of verso of each postcard in booklet. "Levy Fils & Co, Paris sideways along centre line of postcard on verso.abbeyville, levy fils, postcard, vues, panorama, place de l'amiral-courbet, monument, rue alfred-cendre, alfred-cendre street, statue, saint vulfran church, saint gilles church, museum, prarona statue, avenue de la gars, avenue of the station, chevalier de la barre, river somme, somme, talence bridge, correspondence, carte postale, censor, censored

This image was taken for the purposes of illustrating Jack Harvey's book 'Eureka rediscovered'. According to the State Library of Victoria catalogue the work is an over-painted photographic print, photographed by an unknown photographer from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, ca. 1891. This is based on the evidence that the pulleys and brick wall are discernible at the top edge of the image which B. Ireland has not over-painted. This artist may by Beryl Ireland, who was a miniaturist and studied at the National Gallery of Victoria Art School in the 1870s. Beryl Ireland was the niece of Richard Davies Ireland (1816-1877), the lawyer for the Eureka defendants in 1855. Information provided by Dr. Mimi Colligan, 2002. (http://search.slv.vic.gov.au/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=SLV_VOYAGER1657187&indx=2&recIds=SLV_VOYAGER1657187&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&dscnt=3&frbg=&tab=default_tab&dstmp=1339483021572&srt=rank&mode=Basic&dum=true&fromLogin=true&vl(freeText0)=Eureka%20Stockade%20Ireland&vid=MAIN)Large format reproduction of a handcoloured photograph of the Eureka Stockade taken from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, c1891. The original is in the collection of the State Library of Victoria. (http://handle.slv.vic.gov.au/10381/132726) Signed lower right "B. Ireland"eureka stockade, ireland, b. ireland, beryl ireland

Four large format colour photographs mounted onto board: .1) film studio .2) horse riding .3) metal work .4) metal worktrades, equestrian

The Salisbury Clock Tower was built in memory of Arabella Roberts who died on 23 January 1892. The firm Smith of Derby installed the illuminated clock mechanism with four faces and was still responsible for maintenance when, in December 1970, it replaced the original gravity mechanism with a more modern movement. The original clock mechanism was sold to a customer in Providence, USA. In 1997, the new mechanism was completely refurbished and updated to include automatic adjustment for British Summer Time. At the same time the tower itself was restored, the main contractors for this work being R. Moulding and Co of South Newton. Smith of Derby continues to be responsible for maintaining the clock, and so this firm has now been providing a service to the City for over 100 years. Sepia photographic postcard depicting a bridge and road lined with buildings and a clock tower in Salisbury, Wiltshire, England.salisbury, clock tower, chatham-holmes family collection, carriage, bridge

The Bendigo School of Mines was established in 1872 for the purpose of providing instruction and training in the principles of science with their application to the various industries. Brown soft covered book of 62 pages. Contents include: Office Bearers, Art Department, Board and Residence, Certificate Courses, Examination Results, Employment, Graduates, Laboratory Work, Library, Pharmacy, Railway concessions, Rules, Scholarships and Prizes, Univesity Concessions An photographic image of the building, Turning and Fitting Workshop, Woodwork, and the Science Laboratory are reproduced. bendigo school of mines, l. lansell, r.h.s. abbott, john veale, george davey, a.e. thorne, john quick, w.c. vahland, o. penfold, j.r.v. anderson, w.h. walter, john e grant, woodcarving, arthur t. woodward, bendigo junior technical school, university concessions, carola cohn, schools of mines, pharmacy, school of design and applied art, geoffrey abbott

The photograph shows the wreck of La Bella in Lady Bay, Warrnambool, Australia. It was probably taken on 11th November 1905, the morning after she was wrecked. “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St , Warrnambool, which operated between 1889 – 1919 . A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August, 1907, mentions that in that year Warrnambool would celebrate its 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” The subject of the painting, La Bella, has its own tragic story. Read on for further details … On November 10th, 1905, the Norwegian-built barquentine La Bella approached Warrnambool at the end of her 37 day voyage. She was carrying a cargo of timber from Lyttleton, New Zealand, in heavy seas and evening mist. (On its only other visit to Warrnambool a year earlier the master had gone to shore to find a tow. He returned to the ship to find the crew drunk and unwilling to take up their posts, even though the ship was dragging its anchors and in a dangerous position.) As Captain Mylius steered La Bella to Lady Bay Channel the ship was tossed onto its side by heavy breakers and ran aground on what is now known as La Bella Reef. The sea was so rough that it wrenched a one-and-a- half ton anchor from the vessel. Several attempts were made by parties of volunteers in lifeboats to rescue the stricken sailors, but the rough conditions made this difficult for the boats to get close enough to the ship and the parties had to return to shore. The La Bella’s crew became exhausted and sailors were being washed overboard, one by one. By sunrise only five of the twelve crew still clung to the wreck. A local fisherman, 25 year old William Ferrier, rowed his small dingy through the heavy seas and managed to rescue the captain, whilst the volunteer lifeboat crew rescued a further three sailors, returning to shore. Ferrier made a final attempt at rescue and was able to reach its stern as the conditions eased slightly, saving the last remaining, terrified sailor just before the ship broke up and sank. William Ferrier became a national hero as news of the daring rescue spread. He was awarded the Silver Medal for bravery by the Royal Humane Society and was honoured by the Prime Minister and the Governor. He was presented with several other awards for his daring rescue. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. The wreck now lies in 13m of water and is home to an abundance of marine life. Flagstaff Hill’s La Bella Collection includes a rail holder from La Bella, a photograph of William Ferrier with four of the five men rescued, a rail holder from the ship and the letter from the Prime Minister and other Members of Parliament that was sent to William Ferrier to commend him for his bravery. La Bella has been protected under the Commonwealth Historic Shipwrecks Act (1976) as a Historic Shipwreck since 23 April 1982 (VHR S401). It is archaeologically significant as the remains of an international and inter-colonial passenger and cargo ship. Flagstaff Hill’s collection of artefacts from the La Bella is of historical and archaeological significance because of its association with the La Bella, which is on the Victorian Heritage Register, and because of the relationship between the objects. The collection represents aspects of Victorian history, and the letter to William Ferrier demonstrates how important his rescue efforts were to Victoria and Australia. Black and white photograph of the wreck of the sailing ship La Bella in the bay at Warrnambool. The photograph shows the ship lying on its side in rough sea, with mast and rope rigging hanging loosely. Several large rocks are also visible. The photograph is a rectangle shape, mounted on heavy card, with slightly ragged edges. The photographer’s name, a title for the photograph and the location are hand written in white along the bottom third of the photograph. The back of the photograph is blank. Printed in white hand writing “Foyle”, “WRECK OF “LA BELLA”, “W’Bool”foyle, la bella, william ferrier, lady bay, lifeboats, lilian foyle, lillian foyle, charles foyle, james foyle, royal humane society medal, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village

This is a photographic image of the three-masted iron clipper Loch Vennachar created by photographer Fred Kruger of Geelong. Fred Kruger was born in Germany in 1831 and migrated to Victoria before his wife, who arrived in 1863. He began working in photography in the 1850s. He was internationally recognised for his work, which covered a variety of subjects. He settled in Geelong in later years, registering his studio in Skene St, Newtown. He passed away in February 1888. The National Gallery of Victoria now holds much of his work. Loch Vennachar: - Loch Vennachar made many journeys from Britain to Australia and was well-known in Australian ports. On one of its homeward-bound journeys from Australia, the ship sank in the River Thames. Its cargo included 850 tonnes of preserved canned rabbits from Warrnambool's Western Meat Preserving Company. The ship was raised and continued trading for another four years. On 14th June 1905, Loch Vennachar departed Glasgow for Adelaide and Melbourne. The last known sighting of it was on 6th September 1875 when overtaken by the SS Yongala; the captains exchanged the “all well” signals. After that, the ship disappeared with loss of all 27 lives, according to a list that was received by Fremantle through the English mail. The list indicated that there were no passengers on that voyage. Sadly, other Loch Line ships med with similar disasters. The list of lost crew on the Loch Vennachar included Thomas. W. Pearce, apprentice, Southampton. His father was Tom Pearce, one of the two survivors of the Loch Ard, wrecked in 1878. Also, Thomas’ grandfather, James Pearce, was the captain of SS Gothenburg at the time of her wrecking in 1875. Consequently, the wrecking of the Loch Vennachar and the Loc Sloy near the southwest point of Kangaroo Island, a lighthouse was erected, officially opening in June 1907. The northern headland of West Bay was named Vennachar Point in memory of the ship in 1908. The wreck was discovered in 1976 by divers from the Society for Underwater Historical Research, over seventy years after being lost off Kangaroo Island.The Loch Vennachar performed a significant role in Australia’s colonial trade, taking goods between Great Britain and Australia. These goods included locally preserved tinned rabbits processed at a factory in Warrnambool for overseas trade.Black and white photograph of the Loch Vennachar at the dock, without sails. (aka Loch Vennacher). Printed below photo "Loch Vennachar of Glasgow, 1485 Tons Reg. AA1 100. T.S. Ozanne, Comander" and "Fred Kruger Photo / Skene Street, Geelong" Printed below photo "Loch Vennachar of Glasgow, 1485 Tons Reg. AA1 100. T.S. Ozanne, Comander" and "Fred Kruger Photo / Skene Street, Geelong" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch vennachar, loch vennacher, loch line ship, glasgow shipping co, 1875 clipper ship, loch vennachar image., kangaroo island shipwreck, 1905 shipwreck, fred kruger photographer, photograph loch vennachar, preserved rabbits, canned rabbits, meat preserving company, western meat preserving company, 1901, 1905

.1) Photographic portrait of Hans Frandsen Madsen .2) Copy of a photograph of Mads Jepsen (1814-1888) & Regine Dorthee Hansdatter (1817-1879). They were the parents of Hans Frandsen Madsen, who was one of the earliest enrolments at the Ballarat School of Mines. .3) Articles on Hans Frandsen Madsen's pioneering work with telescopes, including The "Madsen Reflector", and Polishing and Figuring 18 inch glass specula by hand (Read before the Royal Society of NSW, 7 July 1886) .4) Extract of reminiscences of 90 year old Hans Madsonmadsen, hans frandsen madsen, regine dorthee hansdatter, mads jepsen madsen, ballarat school of mines alumni, telescopes, hans madsen

Arthur D. Senior was born on 13 November 1905 at Colac, Lancashire, England. He came to Ballarat in 1927 and was a student, and later a part time evening instructor in Electrical Mechanics, at the Ballarat School of Mines. An electrical engineer at the Electricity Supply Company (Ballarat), he retired from part time work at the Ballarat School of Mines in 1965 having started in 1931.Photographic Portrait of Arthur Senior wearing a Ballarat School of Mines blazer.ballarat school of mines, arthur donald senior, arthur senior, blazer

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Students would have attended Ballarat College of Advanced Education..1 A timber framed black and white photograph taken at Sovereign Hill of a group of twelve people dressed in period costume with a name plate at the bottom. .3 Sepia colour portrait mounted on card - photographers information Typed name plate with names .3 Red Hill Photographic Rooms, Sovereign Hill. Number of photograph - 8105-45viosh, viosh australia, graduate diploma in occupational hazard management, andrew barnard, robert brown, alan channon, brian emerson, frederick garner, murray giles, roy hegney, ronald mansfield, anthony payne, george robotham, robert sutton, ballarat college of advanced education

My Fair Lady, Capital Theatre, View Street, Bendigo. Commencing Wednesday, 14th November, 1973 for an eight night season. Souvenir Program for 50th Production. Bendigo Operatic Society, President: Mr J M Cannon, Vice President: Mr F Trewarne, Honn. Secretary: Miss A Ball, Hon. Treasurer: Mr L Spencely, Hon. Subscription Secretary: Mrs P Lyon. Committee: Mesdames I Brown, J Cannon, Misses P Speedy, M Welch, Messrs. J Beamont, J Boquest, G Daws. Photographs of Mr J Cannon, Max Collins, Carol McKenzie, John Beamont, Kathie Farn, Ralph Watkins, Patricia Lyon, Peter Pritchard, John Boquest, Russell Baxter, Max Rule, David Daenke, Gwen Grose, Diana Chon. Article on: Max Collins, Carol Mckenzie, John Beaumont. Synopsis of Scenes. Bendigo Operatic Society presents by arrangement with J C Williamson Theatre, Ltd., and Tams-Witmark Music Library of New York ' My Fair Lady.' Adapted from George Bernard Shaw's Play and Gabrial Pascal's Motion Picture 'Pygmalion'. Music by Frederick Loewe. Book and Lyrics by Alan J Lerner. Musical Director: Gwen Rose, Stage Manager Malcom Cannon, Wardrobe Miss M Welch, Choeography Miss M Welch & Mrs A Ball. Cast: Carol McKenzie, Max Rule, Kathie Farn, Ralph Watkins, John Beamont, Gary Burns, John Boquest, Russell Barter, Peter Pritchard, Patricia Lyon, Pauline Speedy, Jull James, David Daenke. Synopsis of Story. Bendigo Concert Orchestra from the following:- Violins: Mrs R Wheldon, Mrs A Boulton, Mrs M Robbins, Mrs C Messer, Mr C Gill, Mr P Phillips, Mr J Jordan. Violas: Mr E Jarratt, Mr J Werry. Cellos: Mrs C Bubb, Miss D Nankivell. Bass: Mr Chester White, Mr Tom French. Flute: Mr C Bubb. Clarinets: Mr R Holyoake, Mr G Ellul. Trombones: Mr W Neuman. Bassoon & French Horn: Mr Stuart Anderson. Trumpets: Mr D Aitken. Pianoforte: Miss Diana Cohn. Female Chorus: Marion Alcock, Wilma Baldwin, Mary Barbour, Valerie Barter, Gwen Cox, Shirley Dawson, Jo-anne Edgar, Dorothy Field, Valerie Griffith, Lorraine Hatch, Julie Howbert, Faye Hughes, Ruth Iredale, Sue Kemp, Dawn Mackay, Cheryl Marshall, Jull Matthews, Adrenne Nankivell, Fay Olive, Barbara Potter, Lois Semmens, Coral Rivett, Anne Truscott, Kathie Watson, Pamela Wiltshire, Marion Wright. Male Choras: Albert Charlton, David Aaenke, Graeme Dawes, Ken Deutchman, Jim Feteris, Philip Johnston, Hugh Sayle, Bryan Slattery, Len Symons, Fred Trewarne, Ian Unmack,Philip Wilkins. Ballet: Dianne Austin, Annette Bassett, Annette Galvin, Coral Rivett, Pam Sutton, Den Deutschman, Ian Unmack, Brian Slettery, Len Symons, Philip Johnston. Acknowledgements: Bendigo Advertiser, BVC 8, 3BO, 3CV. Publicity Officer: Mrs J Cannon. Scenery Design: Mr Malcom Cannon. Prperties: John Cannon, Jim Moncrieff, Gerard Fullarton, Peter Edgley. Art Work: M Cannon, Geoff Proctor, J Hall, Kerry Noakes, Michael Frayne, Mark Edebone & Pamela Caswell. Prompts: Mrs J Cannon, Mrs H Lindhe. Make-Up: Mrs J Cannon, B Downing, H Coia, Lighting: L Reed, H Bridges & T Vincent. Hairdressing: Ross Coiffure. House Managers: Basil Bennett, Ron Thomas, Bruce Ralph. Advertisments: Powneys Toyland, Golden Hills Motel 'The Inn', Marong Road, Bendigo. Ross Coifure Beauty Salon, Allans Walk, Bendigo. Don Semmens Photographic Studio, Hargreaves Street, Bendigo.program, theatre, bendigo operatic society, my fair lady, capital theatre, view street, bendigo. commencing wednesday, 14th november, 1973 for an eight night season. souvenir program for 50th production. bendigo operatic society, president: mr j m cannon, vice president: mr f trewarne, hon. secretary: miss a ball, hon. treasurer: mr l spencely, hon. subscription secretary: mrs p lyon. committee: mesdames i brown, j cannon, misses p speedy, m welch, messrs. j beamont, j boquest, g daws. photographs of mr j cannon, max collins, carol mckenzie, john beamont, kathie farn, ralph watkins, patricia lyon, peter pritchard, john boquest, russell baxter, max rule, david daenke, gwen grose, diana chon. article on: max collins, carol mckenzie, john beaumont. bendigo operatic society presents by arrangement with j c williamson theatre, ltd., and tams-witmark music library of new york ' my fair lady.' adapted from george bernard shaw's play and gabrial pascal's motion picture 'pygmalion'. music by frederick loewe. book and lyrics by alan j lerner. musical director: gwen rose, stage manager malcom cannon, wardrobe miss m welch, choeography miss m welch & mrs a ball. cast: carol mckenzie, max rule, kathie farn, ralph watkins, john beamont, gary burns, john boquest, russell barter, peter pritchard, patricia lyon, pauline speedy, jull james, david daenke. synopsis of story. bendigo concert orchestra from the following:- violins: mrs r wheldon, mrs a boulton, mrs m robbins, mrs c messer, mr c gill, mr p phillips, mr j jordan. violas: mr e jarratt, mr j werry. cellos: mrs c bubb, miss d nankivell. bass: mr chester white, mr tom french. flute: mr c bubb. clarinets: mr r holyoake, mr g ellul. trombones: mr w neuman. bassoon & french horn: mr stuart anderson. trumpets: mr d aitken. pianoforte: miss diana cohn. female chorus: marion alcock, wilma baldwin, mary barbour, valerie barter, gwen cox, shirley dawson, jo-anne edgar, dorothy field, valerie griffith, lorraine hatch, julie howbert, faye hughes, ruth iredale, sue kemp, dawn mackay, cheryl marshall, jull matthews, adrenne nankivell, fay olive, barbara potter, lois semmens, coral rivett, anne truscott, kathie watson, pamela wiltshire, marion wright. male choras: albert charlton, david aaenke, graeme dawes, ken deutchman, jim feteris, philip johnston, hugh sayle, bryan slattery, len symons, fred trewarne, ian unmack, philip wilkins. ballet: dianne austin, annette bassett, annette galvin, coral rivett, pam sutton, den deutschman, ian unmack, brian slettery, len symons, philip johnston. acknowledgements: bendigo advertiser, bvc 8, 3bo, 3cv. publicity officer: mrs j cannon. scenery design: mr malcom cannon. prperties: john cannon, jim moncrieff, gerard fullarton, peter edgley. art work: m cannon, geoff proctor, j hall, kerry noakes, michael frayne, mark edebone & pamela caswell. prompts: mrs j cannon, mrs h lindhe. make-up: mrs j cannon, b downing, h coia, lighting: l reed, h bridges & t vincent. hairdressing: ross coiffure. house managers: basil bennett, ron thomas, bruce ralph. powneys toyland, golden hills motel 'the inn'. ross coifure beauty salon. don semmens photographic studio.

booknon-fictionPublished in Italy in 1979 exploring the theme of women and sexuality these diverse images reveal how women see themselves, their bodies and their changing roles, characterised by inventiveness, intimacy and sensuality.portraiture, body, colour photograpy, erotica

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins periodSepia photograph of Amess House and Rogers Cottage, showing a paddock, young fruit trees, and the established Norfolk Pine. Taken from the Western side. Photo with white border Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins periodSepia photograph of Amess House showing the norfolk pine and vegetables. Taken from the Northern side. Photo with white border Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins periodSepia photograph of Amess House and Rogers Cottages from across the paddock, taken from the NW side. Photo with white border Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins periodSepia photograph of the shoreline of Churchill Island, with scrubs and bushes in the foreground, and a tree on the right side of the frame. White border. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph is of Billie Smith.Sepia photograph of a woman standing among the grass, looking at the camera and wearing a jumpsuit. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, billie smith

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph is of Valda Treadwell and the son of the owner of Churchill Island, Ted JenkinsSepia photograph white narrow white border of two people in front of Rogers Cottage. The woman wears a cardigan and stands behind the man who is in a wheelchair with a blanket over his legs. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins, valda treadwell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph includes Valda Treadwell.Sepia photograph white narrow white border of two women sitting amongst the grass and trees on Churchill Island, one looking at the camera Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, valda treadwell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph includes the owner of Churchill Island, Ted Jenkins.Sepia photograph white narrow white border of three people and a pig standing beside Amess House beside a paddock. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph includes the son of the owner of Churchill Island, Ted Jenkins, Doug Finlason, and Valda TreadwellSepia photograph white narrow white border of three people - two standing on either side of a man in a wheelchair with a blanket over his legs. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins, valda treadwell, doug finlason

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows Valda TreadwellSepia photograph white narrow white border of a woman wearing white standing in front of some outdoor chairs among a group of trees. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, valda treadwell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the son of the owner of Churchill Island, Ted Jenkins, with his carer and subsequent owner of the property, Margaret CampbellSepia photograph white narrow white border of two people in front of Rogers Cottage, with the woman standing behind the man in the wheelchair with a blanket on his legs. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins, margaret campbell

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the son of the owner of Churchill Island, Ted Jenkins, with Billie Smith.Sepia photograph white narrow white border of two people posing for the camera. The woman stands to the side of the man in a wheelchair, with a cigarette in his hand, and a gun in his lap. Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, ted jenkins, billie smith