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Kew Historical Society Inc
Photograph - Dight's Falls, 1924
Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 6 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This is a photograph id of the. Yarra River at Dight's Falls. The point of view is from the freshwater section of the river looking across to the cliffs on the Kew side of the river. Standing on the cliffs is a tiny figure of a man. "Yarra Rvr / Kew"henry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, dight's falls -
Orbost & District Historical Society
framed photographs, 1937
Six black and white photographs in a brown wooden frame which has a metal inset. Top left is of 100 ft long vines. Note a figure is in centre. Top middle is of mahogany gums at Upper Combienbar. Top right is Big Tiger Snake Creek- panning for gold. Bottom left photo is of Bemm River. Bottom middle photo is Thunderbolt's Lookout and the bottom right photo is big timber. photographs combienbar bemm-river thunderbolt's-lookout mahogany-gums -
Glenelg Shire Council Cultural Collection
Painting, Ruth Denny, Old Cottages Richmond St. Portland, 1967
CEMA Art collectionThe painting depicts a street scene with three buildings and a fenced area. The centre focus of the work is two small buildings. The building on the left is yellow with red roof and green door. Standing in front of the house is a female figure with red shirt and white skirt. Tthe building to the right is pale yellow with green roof, red chimney and green door. The work has plain wooden frame with a mount and glass.Front: Old Cottages Richmond St.Portland Ruth Denny 1967(black, handwritten) Back: Sticker:DEAN'S MU 8291 FOR FRAMING 346 LT.COLLINS ST., MELB. NO. 20438 Yellow sticker: 3034 -
Melbourne Tram Museum
Book, H.S. McComb, "Lengths of Lines and Curves", c1930
Book - black covers - 4 sections sewn - 124 pages lined - titled "Lengths of Lines and Curves". Has an index. Gives details of junction layouts, distances, hand drawing layouts, route and track miles, tables of actual distances, average distance and figure on which mileage is worked. In the rear of the book are some hand written calculation notes. Not all pages imaged, just those with a diagram.On top of the cover of one copy in ink "pages 1, 4, 14,17, 23"trams, tramways, trackwork, mmtb, mileages -
Bendigo Historical Society Inc.
Photograph - LAANECOORIE WEIR
Black and white (hand tinted) photograph of Weir structure at Laanecoorie. Figure on left of photo. Inscriptions: 'Laanecoorie Weir on reverse in black lead pencil. History: James Lerk 17.3.2000 'Laanecoorie Weir' built by Bendigo contractor. Valves by Roberts Foundry ' With note' photographs from Mrs Ella Bourke, 131 Barnard St, Bendigo Ph 43 8269. Photographs Frances (Frank) Thomas Bourke.Francis (Frank) Thomas Kennedyplace, water, laanecorrie weir -
Bendigo Historical Society Inc.
Photograph - COLIN MANSEL, BENDIGO VIOLINIST, c.1947
Black and white photograph of male figure playing violin in front of drawn curtain. Photograph mounted on board and enclosed in stiff paper folder. Inscriptions: on front of folder - 'Christmas Greetings from Colin 1947, a Reg Brock photo'. Printed picture of lighted candle in candle stick, Drawing of holly in red and green. Printed in folder 'Colin Mansel, Bendigo Violinist'. History: Previous Acc. No. P672Reg V Brockperson, individual, portrait male -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Sculpture, Charles Douglas Richardson, The Cloud, 1900
Inspired by the opening lines of Percy Bysshe Shelley’s 1820 poem of the same title, The Cloud has grace of line that epitomises the model of classically informed beauty. Richardson’s figure successfully follows the serpentine line of Art Nouveau sculpture while also echoing the influence of British New Sculpture with its focused attention to bodily detail and surface articulation. A bronze version of The Cloud was cast in 1987 and can be seen in the formal garden between the Brighton Town Hall and the Brighton Library.Art Nouveauplaster patinated with paint and ground coppersculpture, female figure, charles douglas richardson, the cloud, cd richardson, c douglas richardson, percy bysshe shelley, poem, art nouveau, new sculpture, flowers -
Federation University Art Collection
Gouache on paper, Larwill, David, 'On the Picks' by David Larwill, 2003
David Larwill was a founding member of Melbourne’s Roar Studios. His work is influenced by movements as diverse as tribal art, Aboriginal art and abstracted figuration of the 1940s and 1950s. Larwill’s paintings are characterised by their simplified forms and overall pattern. Figures and animals populate his images, painted in an almost child-like naïve manner that is technically very sophisticated. 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.art, artwork, david larwill, larwill, gouache -
Eltham District Historical Society Inc
Negative - Photograph, Leader Publishing Co, Wingrove Cottage, c.1970
Wingrove Cottage is historically significant for its long association with Charles Wingrove, a prominent figure in Victorian local government, as secretary to the Eltham District Road Board and Shire Council from 1858 to 1904, and Shire Engineer and Secretary to the Heidelberg Road Board. The cottage was also used as the office of the Eltham District Road Board and Council for many years . One of the Shire's oldest dwellings, and one of the few surviving 19th century buildings associated with early Eltham and located in the original Eltham Village Reserve. Wingrove Cottage is considered historically significant to the Shire of Nillumbik and is registered on the Victorian Heritage Database. 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 '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 4 x 5 inch B&W Neg Print 20 x 25 cmsepp, shire of eltham pioneers photograph collection, eltham, wingrove cottage, charles wingrove, houses -
Merri-bek City Council
C-type print, Rennie Ellis, Grand Final breakfast 1982, 1982
Rennie Ellis was an Australian documentary photographer and a key figure in Australian visual culture. Grand Final breakfast 1982 depicts a cluttered table during a football Grand Final day breakfast. The messily covered tablecloth, as well as the appearance of alcohol at a morning event, displays the signature larrikin attitude and passion with which football events are undertaken in Australia. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis, capturing the nation’s love of the game. Donated by the Rennie Ellis Photographic Archive -
Melbourne Tram Museum
Ephemera, Victorian Railways (VR), "Circular ticket", c1925
Ticket issued by the Victorian Railways that allowed the passenger to do a round trip from Brighton Beach to St Kilda via the Electric Street railway or tramway and then return using a train via Flinders St station. Child first class. Appears to have been in album or adhered to a board - shows paper damage on the rear. See reference page 120 and for a related image, figure 6-14. The reference notes that for the rail travel, tickets were issued for first-class travel only.Demonstrates a VR Round trip ticket to Brighton Beach.Edmondson ticket - pasteboard, fawn, black printing with red overprinting - No. 1828tramways, trams, vr trams, round trip, st kilda brighton tramway, railways, brighton beach -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Medal, Victory Medal
The Victory Medal was authorised in 1919 to commemorate the victory of the Allied Forces over the Central Powers. Each of the Allied nations issued a ‘Victory Medal' to their own nationals with all of these having the figure of Victory on the obverse as a common feature. Australians were awarded the medal issued by Great Britain. A member mentioned in despatches (MID) for service during World War 1 wears a bronze spray of oak leaves on the Victory Medal ribbon. Only one emblem is worn no matter how many times a member may have been ‘mentioned'. When a ribbon alone is worn a slightly smaller insignia is worn as a ribbon emblem. Eligibility The Victory Medal was awarded to prescribed classes of persons who entered a theatre of war on duty between 5 August 1914 and 11 November 1918. The Medal The Victory Medal is bronze with a winged figure of Victory on the obverse. The reverse has the words ‘THE GREAT WAR FOR CIVILISATION', all surrounded by a laurel wreath. The Ribbon The Victory Medal ribbon has a ‘two rainbow' design, with the violet from each rainbow on the outside edges moving through to a central red stripe where both rainbows meet. No 19 Farrier Sgt William Stephens, a 26 year old station hand of Drouin, Vic, enlisted RHQ 4 LH Regiment on 21 August 1914.Embarked 19 October 1914, A Squadron 17 April 1916, sick (malaria) 10 Aug 1917, 14 Army General Hospital , Abbassia, 18 Aug, rejoined Regiment 11 Jan 1918, Returned to Australia 15 Nov 1918. Militia service with 13 LH Regt Full size medal with ribbon, unmountedSGT W STEPHENS 4 LHR AIFvictory medal, sgt stephens 4 lh -
Federation University Historical Collection
Booklet, Ballarat School of Mines Prospectus A and B, 1916-7, c1917
The Ballarat Technical Art School was part of the Ballarat School of Mines.1) Ballarat School of Mines Prospectus A .2) Ballarat School of Mines Prospectus B Contents includes teaching staff, school hours, curriculum, fee list, Travelling concessions, school library, classification of subjects. scholarships, Full art and Craft Courses (Industrial Design; Figure, Modelling, Painting and Design; Figure Drawing, Modelling, Painting and Design; Fashion Plate Drawing; Black and White Illustration; Modelling; Wood Carving and Lettering; Art Metal Work; Retouching, colouring, &c; Architectural Diploma; Draughtsmen's Courses; Art Teachers' Courses; Outdoor Sketching Classes; Photography; Building Construction and Architectural Drawing; Ticketwriting; Signwriting and Decorating COurse; Dressmaking, Needlework, etc; Preparatory Technical Classes for Girls; Day Commercial Classes; Other Branches of the School's Activities, examination results; Art Teachers' Certificate. Includes an image of W.H. Middleton, President of the Ballarat School of Mines; Staff of the Ballarat School of Minesballarat school of mines, ballarat technical art school, design, modelling, figure drawing, fashion plate drawing, black and white illustration, wood carving, lettering, art metal work, retouching, architecture, architectural diploma, draughtsmen's courses, art teachers' courses, outdoor sketching classes, photography, building construction, architectural drawing, ticketwriting, signwriting and decorating, dressmaking, needlework, art teachers' certificate. -
Orbost & District Historical Society
medals, 1919-1920
These medals are part of the Lawless Collection. The Lawless family lived in Orbost from 1907 - c 1920. John Francis Lawless had a saddlery shop. He died at an early age - 47 years - June 7 1912, leaving his wife, Elizabeth and seven children. The eldest son, Victor Rowland lawless volunteered for serv ice in WW1 but did not leave Australia because of illness. The second son, Edward Vincent Lawless (b 1895 d 1917) worked for McCoy & Co. in Orbost, coachbuilding, undertakers, general blacksmiths and farriers, prior to enlisting in WW!. He was trained as a signaller and was sent to France where he was killed in action on 9.10.1917. Elizabeth Lawless worked as a ladies' nurse (midwife) in Orbost prior to leaving the district in 1920. She lived to 6.6.1975 aged 104 years. The British War Medal was a medal given to people who had fought in the First World War. The Victory Medal (also called the Inter-Allied Victory Medal) is a First World War campaign medal of Britain and her then colonies and dominions which included Australia.These personal documents, photographs, medals and books give an insight into the human element of World War 1 ensuring that those who were part of the Orbost community and died while playing a vital role during this time are remembered.Two medals in recognition of service during WW1. 1846.3 is a silver medal a WW1 1914-18 British War Medal. Obverse: Bare head of King George V facing left; text around, 'GEORGIVS V BRITT: OMN: REX ET IND: IMP:'; the artist's initials 'B.M.' (Bertram MacKennal) are on the neck truncation. Reverse: Naked figure of St. George on horseback advancing right trampling a shield bearing an eagle design and a skull and crossbone. It has a blue/white/orange striped ribbon attached. 1846.4 is a gold coloured medal. The obverse in the medal shows the winged, full-length, full-front, figure of 'Victory' with her left arm extended and holding a palm branch in her right hand. The reverse has the words ‘THE GREAT / WAR FOR / CIVILISATION / 1914-1919' in four lines, all surrounded by a laurel wreath. It has a purple/blue/green/yellow and orange striped ribbon attached.medals ww1 lawless-family -
The Beechworth Burke Museum
Ceremonial object - Ushabti of Taweret-Khaiti, Circa 1292 BC
Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt -
Dutch Australian Heritage Centre Victoria
Suitcase (Koffer)
Suitcase brought by Dutch immigrant.The fact that the owner reinforced and mended the suitcase suggests the Dutch trait of taking care of things and making them last. The stencilled initials suggest this case was probably stored in the hold.Brown painted suitcase of reinforced oilcloth with metal handle and two metal locks. A small door lock has been added to the lid which has been reinforced on the inside by a timber slat. A plywood slat has been added to the handle side of the case. The rims of lid and case are made of metal, as are the corners. The papered interior of both case and lid shows a small floral pattern in black and beige although, as part of the reinforcement, a coat of brown paint has been added to the inside of the lid and case, but not the bottom. Of the two straps designed to hold down the contents one is still in place, but the other has been replaced by a length of elastic. The original strap is made of cotton, now a dirty white with blue edging, and does up with a small metal buckle. The interior of the case shows a lot of wear and tear with evidence of multiple repairs. A small black metal chain holds up the lid, the corresponding one on the opposite side is missing. On the inside: the timber slat carries the name A.T.A. RIJKEN in black ink and also on a black Dymo label. On the outside: the handle side displays the initials A.T.A.R. and the figure 3 in white stencil. The lid bears evidence of a label in the bottom left hand corner. The lock, added by the owner, is 3cm in diameter and branded ELZETT Made in Hungary.luggage -
Kew Historical Society Inc
Plan - Subdivision Plan, Birdwood Estate, 1920
Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.Bordering Burke Road, the Birdwood Estate included a subdivision of 34 lots on either side of Birdwood Street, Balwyn. Six of the lots faced Burke Road. At the other end of the subdivision a line would indicate that a creek once bordered the subdivision. Lots were advertised for sale at a low figure on five-year terms. Purchasers could pay off the balance in twenty quarterly instalments (i.e. over five years).subdivision plans - balwyn, birdwood estate -
Kilmore Historical Society
Photograph, Sydney Street Kilmore, 1880's
2.5x1.5 inch black and white photograph of 1 Powlett street, the Court House Hotel, former colonial bank of Australasia. Corner of Powlett Street and Lancefield Road. Copy printed on card stock. Two story light coloured rendered building. The intersection of Lancefield Road, Powlett Street, Sydney Street and (modern day) Skehan Place. With a view straight down Sydney Street. One figure crossing the road.Writing on the back: PHO-00004hotels, historical towns -
Melbourne Tram Museum
Newspaper, "Single Men - enjoy a sunny life in a land of opportunity and Earn L23 a week in Australia as Conductors on Melbourne Buses and Trams", 1960's
Photocopy of an advertisement that would have appeared in UK newspapers, advertising for Single Men to come to Australia, titled "Single Men - enjoy a sunny life in a land of opportunity and Earn L23 a week in Australia as Conductors on Melbourne Buses and Trams". Has a lady sitting on a beach chair under an umbrella. Gives contact details for the Agent General in London at Victoria House. No dated - 1960's - based on the $ figure provided as well.trams, tramways, recruitment, conductors, advertisements, immigration -
Bendigo Historical Society Inc.
Book - LYDIA CHANCELLOR COLLECTION: THE LIFE OF DR. JOHNSON
A book titled 'The Life of Dr. Johnson moralist, essayist, poet and scholar. The most conspicuous figure in the London literary life of the last century ; powerful writer, eminent lexicographer ; a great and good man.' London : Ward, Lock & Co., Salisbury Square, E.C. 97 - 112 pgs. This booklet is one of a series of 53 ' Ward & Lock's Penny Books for the People.' 'Biographical Series.' Price one penny. There are also advertisements of note.books, biography, dr. samuel johnson, lydia chancellor, collection, dr. johnson, the life of dr, johnson, dr. samuel johnson, male, individual, person, ward & lock's penny biographies, biographical series, ward & lock's penny books for the people, advertisements, london, english literature, poets, poetry, writer, biographies, penny books, advertisements, penny books -
Bendigo Historical Society Inc.
Book - AILEEN AND JOHN ELLISON COLLECTION: NOVELTY BOOK
Novelty needle book - 50 needles. Made in Japan. A picture of a young girl and boy in a field, it looks like the young boy has slipped and dropped a bucket of water. On the back a young girl in farm clothes tending to a sheep. When opened the booklet has a pop out figure of the same picture on the front and at the bottom holders for needles, originally there were fours, now only three are left with 7 needles still in.handcrafts, needlework containers, needle book -
Bendigo Historical Society Inc.
Photograph - MARY ELLEN DELANY (JACKSON)
Sepia & hand tinted photograph of Mary Ellen Delany, born Bendigo 1877, died Bendigo 1915. Mary married Frank Langdon Jackson 1900. Above details contained on separate square sheet pf paper. Photograph shows a female figure with large feathered hat seated on a hinged gate. On back of photo, envelope attached ' Dorothy Goodall, 8 Rassin Crescent, Callinvale, Queensland.' in brackets (grand daughter)person, individual, mary ellen delany -
Australian National Surfing Museum
Book, Flying Pineapple Media, To The Four Corners Of The World, 1/1/2011 (estimated)
This book is the definitive history of the surf travels by Peter Troy. Troy's travels are the stuff of legends. An original and influential figure in the early days of surfing at Bells Beach, Troy left Australia in 1963 and roamed the planet with surfboard under arm from Europe to Hawaii, South America to South Africa, introducing surfing to Brazil and discovering untold perfect waves like Nias off the coast of Sumatra. He documented every step of this remarkable journey in letters home which were rediscovered after his untimely death in 2008.This book represents the major surf travel history of one of the great legends in world surfing Peter Troy from Torquay. In 1962 Troy was one of the founders of the Bells Beach Surf Contest, the longest running surf contest in the world. He was an intrepid surf traveller who during the period 1963-1966 introduced surfing to the country of Brazil and explored the four corners of the globe for waves. This book is a unique record of world travel by surfer(s)during this period.Full colour, hard bound travel surf book by Peter Troy OAM, edited by Brendan McAloon. Colour cover image of a young Peter Troy by Rennie Ellis.ISBN - 978-0-9808480-0-7torquay, rod brooks, surf, bells beach, peter troy, rennie ellis, hawaii, nias, vic tantau, terry wall, bells beach surf contest, brazil, world surfing championships, biarritz, european surfing championships, flying pineapple media, sean doherty -
Nillumbik Shire Council
Print (Lithograph): John Olsen (b.1928 NSW), John Olsen, Tropical Rain Shower from The Bodford Terrace Suite, 1978
A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower -
Warrnambool and District Historical Society Inc.
Booklet, Warrnambool Graduation Ceremonies 2015, 2015
Deakin University was established in 1974 as the fourth university in Victoria. It has a number of campuses around the state including Warrnambool where it merged with The Warrnambool Institute of Advanced Education in 1990. The university was named after Alfred Deakin, three times Prime Minister of Australia and leading figure in the process of Federation in Australia. Each year a number of students graduate from the Warrnambool Campus which is located on the Eastern edge of Warrnambool on the banks of the Hopkins River. In 2015 there were graduands from the faculties of Arts and Education, Business and Law,Science and health Deakin University occupies an important educational position In Warrnambool and district. This program contains the names of the many people associated with the university and the graduating students for the year 2015. Photograph of two students sitting on lawn in front of grey building. Text in white at top of cover.Back cover green with white text. "Phillpot OAM" on sticker on front cover. Deakin logo on bottom right corner of front cover.deakin university warrnambool, deakin university graduation 2015 -
Melbourne Legacy
Photograph, Annual Demonstration 1950, 1950
A photo of an Annual demonstration at the Melbourne Town Hall in 1950 showing a large group on the stage. The central figure appears to be King Neptune. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979, usually held at Melbourne Town Hall. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.A record of the displays at the Annual Demonstrations. Also that Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo of large group on the Melbourne Town Hall stage around King Neptune. junior legatees, demonstration, annual demonstration, girls classes -
Mont De Lancey
Dinner suit, E.Thomas Pty. Ltd, c1940
E.Thomas Pty. Ltd., Men's Wear was a business in Fitzroy Street, St. Kilda. It was established by Elijah Thomas. This gentleman was a distinguished figure in the community, known by his waxed moustache, furled umbrella and cane, perfectly dressed wearing at all times a black bowler hat, truly one to be respected. The tailoring side of the business was for many years carried out by his son H.B. (Harry) a local Justice of the Peace, most active in St Kilda Community Welfare. Worn at Masonic Lodge functions in Melbourne.Black dinner suit and tails - jacket and pants.evening suits, dinner suits, clothing -
Falls Creek Historical Society
Ephemera - Brochure J. Molony Ski Shop, 1964
Established in 1854 in King Street Melbourne by James Molony, the family owned business of J. Molony initially specialised in shoemaking. Several members of the family were recognised ice hockey and figure skaters who have represented Australia in international winter events including the 1952 Olympic Games in Oslo, Norway and the 1976 Innsbruck Winter Olympics. Molony’s in Elizabeth Street expanded their business with a focus on ski equipment, opening new premises in Falls Creek in 1960 This brochure advertises their available lines for 1964.A 1964 Brochure for J Molony Ski Shop. The brochure is printed in colour and the front bears a caricature of a skier with equipment On front cover: j. molony SKI SHOP 1964 / Established for 110 yearsj molony, molony ski shop, skiing, falls creek, ski fashion, winter, snow, snow fashion, 1964 falls creek -
Melbourne Tram Museum
Ephemera - Schoolboy Howler - 4d ticket, Melbourne & Metropolitan Tramways Board (MMTB), 1940s
One of a series of tram / bus tickets known as "Schoolboy Howlers" - with a joke line on the rear and that Melbourne's trams and buses were carrying 1,000,000 passengers per day. Use to promote advertising on rear of tickets. Has the saying "It is nice to go damsel picking in the Autumn". Ticket 4d - has been punched "Out" for Section 4. The figure of 1,000,000 likely to be a bit of puffery, though on some days that may have occurred during the 1940s. See item 6949 for about 60 different schoolboy howlers. Demonstrates tickets with a funny theme, at the time, on the rear.MMTB paper or flimsy ticket - 4d - black print on off white paper - No. C Jf 820103trams, tickets, mmtb, schoolboy howlers -
Wangaratta RSL Sub Branch
Medal
1914-1919 Victory Medal awarded to MS 4292 SGT A SUTHERLAND ASC - nil further known and unable to confirm service history.Round bronze medal - The obverse shows figure of 'Victory' (or 'Victoria') with her left arm extended and holding a palm branch in her right hand.The reverse has the words ‘THE GREAT / WAR FOR / CIVILISATION / 1914-1919' in four lines, all surrounded by a laurel wreath.The ribbon has an iridescent multi-colour scheme and attaches to the medal through a ring suspender The recipient's name, rank, service number and unit is impressed on the edge of the medal. MS 4292 SGT A SUTHERLAND ASCmedal, ww1, sgt a sutherland, asc, army service corps