Book - 80 pages, A4 landscape format pages including card covers, full colour printing on gloss paper, titled "Destination Waterfront City" written by Randal Wilson and Dale Budd of 2014. Covers Melbourne tram history including cable trams, early electric trams, trams in art, historic fleet, colour schemes, tram types, depots, ticket machines, maps, principally looking at the then current Melbourne fleet. Includes notes on the authors. Has a photo of E6003 on the front cover.trams, tramways, melbourne, tramways, history, e class

Colour photo of Valerie Rae (in green coat) and another lady at a Legacy function, possibly a theatre. Was donated with three other photos after Valerie Rae passed away. The note with the photos was dated 2014 and it said she died in 2009.A record of activities that Legacy provided for widows.Colour photo print of Valerie Rae and another lady at a widows function in 2006.Printed on the front is 'Melton 29/4/2006'.widows, widows clubs

Book - "Destination City" with subtitle "Melbourne's Electric Trams" - 128 A4 pages + card , printed on gloss paper - 7 sections, perfect bound, describes Melbourne's tram car fleet. Includes brief description of each type, photographs and a summary history, including the Victorian Railway's trams. Has many photographs of the various tramcars associated with relevant text. On front cover is a photo of Z3 at the Burwood terminus. Written by Norm Cross, Dale Budd and Randall Wilson as editors, published by Transit Australia Publishing. Has two maps, north and south of Melbourne, printed on the inside card covers. Photo of B2 2111 at corner of Spencer and Bourke Streets. See Reg Item 1986 for notes on the VR trams by Lloyd Rogers.trams, tramways, melbourne, tramcars, mmtb, vr trams

In the words of the Donor, Betty Stone, "The wallet is one of a set of two items. They were designed, hand-sewn sewn and embroidered with raffia by my mother Daisy Elvena (nee Dale) Welsh. Daisy Elvena Dale (born 27 October 1899) daughter of Ellis and Ann (nee Lees) Dale, of Latrigg, Wangoom, Warrnambool, married Raymond Welsh in 1922. A few years later – approximately 1928- Daisy made these two articles, which she used, particularly during the Depression years. The important factor concerning these bags is that they were made with hand-woven cloth cut from a pair of trousers which her grandfather, William Dale brought with him when he left the family farm Back o-'the Low situated in Saddleworth, Yorkshire, England. He arrived in Australia in 1852 and seven years later was operating a quarry on land purchased in Wangoom, Warrnambool known as The Dale Bluestone Quarries. Dale forebears in Yorkshire were first recorded as "clothiers" ( ie weavers of cloth) in the Saddleworth parish records dated 1764; following generations also continued the tradition of producing hand woven cloth as a home industry. The cloth, from which these two bags were made, is evidence of a tradition begun by the Dale family in Saddleworth, Yorkshire more than two hundred and fifty years ago. My mother, Daisy Elvena (nee Dale) Welsh (granddaughter of William Dale) always referred to the cloth, which is at least 160 years old, as a homespun hopsack.The homespun hopsack fabric for the set of bags was part of the clothing brought from England to Australia, an example of emigrant luggage. It also represents a traditional home industry of 'clothiers'. This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Embroidered wallet (purse), rectangular, part of a set, the other part being a shopping bag Decorated with embroidered raffia flowers. The bags were made by Daisy Welsh (nee Dale) c. 1928 from homespun "hopsack' fabric of William Dale's trousers, brought to Australia in 1852. Part of the 'Chamberlain Dale Lees Collection' flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, clithier, william dale, daisy welsh, wangoom, hopsack, saddleworth, yorkshire, wallet, purse, hand woven, handmade

In the words of the Donor, Betty Stone, "This shopping bag is part of a set of two items. The items were designed, hand sewn and embroidered with raffia by my mother Daisy Elvena (nee Dale) Welsh. Daisy Elvena Dale (born 27 October 1899) daughter of Ellis and Ann (nee Lees) Dale, of Latrigg, Wangoom, Warrnambool, married Raymond Welsh in 1922. A few years later – approximately 1928- Daisy made these two articles, which she used, particularly during the Depression years. The important factor concerning these bags is that they were made with hand-woven cloth cut from a pair of trousers that her grandfather, William Dale brought with him when he left the family farm Back o-the Low situated in Saddleworth, Yorkshire, England. He arrived in Australia in 1852 and seven years later was operating a quarry on land purchased in Wangoom, Warrnambool known as The Dale Bluestone Quarries. Dale forebears in Yorkshire were first recorded as "clothiers" ( ie weavers of cloth) in the Saddleworth parish records dated 1764; following generations also continued the tradition of producing hand-woven cloth as a home industry. The cloth, from which these two bags were made, is evidence of a tradition begun by the Dale family in Saddleworth, Yorkshire more than two hundred and fifty years ago. My mother, Daisy Elvena (nee Dale) Welsh (granddaughter of William Dale) always referred to the cloth, which is at least 160 years old, as a homespun hopsack. (Note: For additional information please refer to Betty Stone’s book “Pioneers and Places - A History of three Warrnambool Pioneering Families” ie. Chamberlain, Dale and Lees Families)The homespun hopsack fabric for the set of bags was part of the clothing brought from England to Australia, an example of emigrant luggage. It also represents a traditional home industry of 'clothiers'. This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch.Embroidered shopping Bag, part of a set, the other part being a wallet (purse). Wooden handles and fabric is decorated with embroidered raffia flowers. The bags were made by Daisy Welsh (nee Dale) c. 1928 from homespun "hopsack' fabric of William Dale's trousers, brought to Australia in 1852. Part of the 'Chamberlain Dale Lees Collection' flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, clithier, william dale, daisy welsh, wangoom, hopsack, saddleworth, yorkshire, shopping bag, handbag, homespun, handmade

1986.1 - Book - "Destination City" with subtitle "Melbourne's Electric Trams" - 128 A4 pages + card , printed on gloss paper - 7 sections, perfect bound, describes Melbourne's tram car fleet. Includes brief description of each type, photographs and a summary history, including the Victorian Railway's trams. Has many photographs of the various tramcars associated with relevant text. On front cover is a photo of Z3 at the Burwood terminus. Written by Norm Cross, Dale Budd and Randall Wilson as editors, published by Transit Australia Publishing. Has two maps, north and south of Melbourne, printed on the inside card covers. Pages 92, 93, 96, 98 - 103 have been annotated by Lloyd Rogers - see htd1986i1.pdf - red and blue ink. - giving corrections and notes. 1986.2 - 8 pages of typed and handwritten notes - photocopied with "Comments by Lloyd Rogers Jan. 1 1994" on bottom of each sheet - giving page by page notes - see htd1986i2.pdf for a scan of these notes. Includes notes on the paint scheme for VR. 53 and a copy of a memo from the Rolling Stock Engineers Office, dated 22/6/1942 titled "Construction 3 - 45 feet tram cars" giving instructions re the paint colour schemes.trams, tramways, melbourne, tramcars, mmtb, vr trams

1st AIFA b/w postcard portrait of soldier W. J. Daly (hatless)Typewritten on front: TROOPER W. J. DALY Handwritten on back: TROOPER Wm. J. Daly, D TROOP, C SQUAD, 8TH LIGHT HORSE, 3RD LIGHT HORSE BRIGADE, 3RD CONTINGENT Printed on back: DARGE, PHOTOGRAPHER 175 COLLINS ST MELBOURNE VICTORIAdaly, w. j., darge, photographers, armed forces, soldiers, clothing and dress, uniforms, postcards, george evans collection

Senior Officers visiting */13 VMR Annual Camp at Puckapunyal in 1969. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Black and white photograph of tank crewman talking to two Officers. Offocer on left Major General McDonald, Commander 3rd Division, at right Major General Daly." General Daly and McDonald with Sgt. Wadley, B Sqn Camp 1969."

Contains state by state maps and details about each state.Maps, colour photographsatlases, road maps, australian travel

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile

Caught Fish, PANGASIANODON GIGAS” is a miniature version of the larger tapestry described below and it embodies the same ideas: The giant Mekong Catfish is under threat of extinction due to over-fishing and loss of habitat. It is beleived that the fish used to reach sizes over 3 metres, but the largest recorded catch to date is 2.7 metres – a monster fish caught in Thailand in 2005. As its fame and the mythology surrounding it increases, so does the number of game fishermen keen to land a record catch or earn a sizeable amount of money in the exotic food marketplace. However, the water flow of the river is increasingly more controlled by China, changing the natural habitat of the river. It seems that survival of the great catfish is being left to chance and the fish’s ability to avoid nets, lines and traps in the murky green waters of the Mekong. My exhibition piece is a giant, woven Pangasianodon Gigas – made as a shaped tapestry which will hang the way a fisherman would hold up his catch to display or be photographed as his trophy. The drawing was made from photographs of very large fish I observed in Laos and the detail on the body of the fish is deliberately ambiguous scales/nets. The piece will be woven on cotton seine twine (which was originally made as a string for fish netting) with mixed weft yarns. Artist statement about the work: The final work is an abstraction of fish and nets – an image made with a hand drawn quality suggesting the personal observation that goes with looking and responding with ink on paper. The tapestry technique mimics the original marks to a certain degree but is also very obviously a woven form with its stepped edges and shapes, blending of tones through hachure and broad set of warp and weft.Wangaratta Art Gallery CollectionA small tapestry of a caught fish handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile, fish

The Kew Historical Society mounts regular exhibitions at venues throughout Boroondara. These generally relate to Kew's History and use items from the collection.Three born digital images of an exhibition of items significant to the history of Kew High School. The exhibition was curated by Val Bourke of the Kew Historical Society, and located in the Kew Library.kew high school, exhibitions -- kew (vic.), kew library

Purchased with the assistance of the Crafts Board of the Australia Council, 1979Textilegippsland, artwork, permanent collection

stawell

Fabric was commercially produced; shawl was hand finished with satin binding by donor's mother.- Cream baby shawl - Cotton - Edged with hand applied satin bindingNilbaby accessories, machine knit, hnadmade

Handmade by donor with used fabric from donor's wedding dress.- Cream babies bib with lace edging - Satin face, cotton backing - applied lace motifsNilbaby wear, handmade

Handmade by the donor, using fabric from the donor's wedding dressc1990Handmade cream nylon christening gown with applied lace, satin ribbon and embroidery. It closes at the back with a false button and press stud fastening.Nilbaby clothing, christening gown, handmade

Handmade by the donor in 1990'sPair of baby booties knitted with cream silk thread and tied with a cream ribbon.Nilhandmade, baby clothing, knitting

Handmade by the donor to complement the christening gown (NA 5481)C1990 handmade christening petticoat to line the handmade christening gown.Cream nylon baby petticoat to accompany Christening gown. It has cotton lace trim, a back placket with pearl button to close the garment.Nilbaby clothing, christening gown, handmade

Hand knitted to resemble crochet. Simple crochet edging is placed around the garment. The jacket is closed with pearl colored buttons.c1990 hand knitted baby christening garment.Cream silk knitted matinee jacket for a babyNilbaby christening, clothing, handmade, knitted

Handmade coat hanger accompanying baby clothes.A handmade baby coat hanger with floral padded, nylon quilted covering, lace lower edge and plastic covered steel hanging hook.Nilbaby clothes, handmade

Handknitted by donor.Cream handknitted baby bonnet with embroidered ribbon ties.Nilbaby clothing, handmade

Hand knitted by donor in 1974 to use with green dress and white jacket.Small green handbag with gold coloured clasp and chain. Has sample of green lurex thread inside bag. Bag is lined with green nylon inside. See also NA5487 for information on green dress.knitting, wool, 1974

Hand knitted by donor in 1974 and worn with white jacket and green handbag.Knitted long dress with long sleeves. Has patterned top and sleeves and patterned bottom green has shining lurex thread. Has 6 green buttons & zip at back. See NA5485 for information on matching hand bag.knitting, wool, 1974