(From back cover): "The Weintraubs Syncopators, international musical celebrities of the 1930s, embarked on a four-year journey across Europe, Russia and the Far East in exile from the antisemitic ideologies of the German Third Reich. This band of mainly Jewish musicians arrived in Sydney, Australia, in 1937. The decision of some of them to stay brought them into conflict with the aggressively protectionist Musicians’ Union of Australia. They gained employment at a high-end Sydney nightclub but when war came, were forced to come to terms with a change in their status – from celebrities to enemy aliens. Denounced for alleged espionage activities in Russia, three were interned and the band broke up. In this major recounting of the experience of the Weintraubs Syncopators, Kay Dreyfus pieces together the complex personal, social and political forces at work in this story of migration at a time of insecurity, fear and dramatic conflict." The Tatura group of camps were built after the beginning of World War 2, and held prisoners of war (enemy military) and civilian internees (enemy nationals, regardless of political affiliation, either living in Australia or in Allied territories overseas). The Weintraubs Syncopators' members were just some of the civilians caught up in the conflict. Paperback book. Glossy black front cover, black & white photo of group of musicians. Blue & white text. Back cover glossy white, black & white photo group of men standing over bass drum labelled "Weintraubs Syncopators". 305 pages. Dewey no. 781.65092weintraub, camp 1, tatura, internment camps, civilian internees, jazz, jewish community, world war ii, musicians, stefan weintraub, horst graff

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Eldridgest. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Tudor.st. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Tudor and Eldridge in conversation with the College in the background.st. philip's college, tudor, chris, eldridge, chris

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

This album of Comradeship activities was compiled by Legatee Fred Holdsworth. It contains photographs, newspaper cuttings and ephemera relating to various “Comradeship” activities (social gatherings) held throughout the 1970s and early 1980s. Items included various events legatees participated in. First few pages had photos from a gathering at Cruden Farm on 15 May 1977. Cruden Farm was owned by Elisabeth Murdoch, the mother-in-law of Legatee Geoff Handbury. It appears there was a kite flying contest. Names are not listed. Three photos were from Queensland where Legatee Wal Escott had retired at Mundoona apartments, Noosa Heads, one photo shows him with Lorna Grimwade on 6/10/1979. There is a black and white photo of Max Armstrong, Rex Hall, Harry Burton, Warren Hardy riding horses in the Anzac Day march. The year is not known but an accompanying newspaper article mentions that they had been riding every year for 13 years on horses loaned by the police mounted branch. The newspaper clipping shows another photo of the four. A photo of seven legatees including David Carter were at the Numurkah Annual meeting in 1978. There are 8 photos of a gathering of Legatees and their wives at Stanhope in 1979. A photo of a Christmas party at Chaucers in 1979 was missing from the page, it has shown Choirmaster Reg Thomson and Choristers; Rob Allison, Bruce Hall, Les Patch, Bill Seager, David Syme and Ron Austin; with the M.C. being Fred Holdsworth. There was a trip to a trout farm in Alexandra Yea area in February 1978. At a comradeship evening there a photos showed the Comradeship committee of Harold Berg, John Cooper and Fred Holdsworth. Also photos from Anzac Night in 1980 and 1981. Plus other gathering at people's homes. A black and white photo of men in formal black tie, is from a night at the Windsor Hotel to farewell Sit Thomas White to become Australia's High Commissioner in London. Left to right are Sir Archie Michaelis, Sir John Latham, Sir Thomas White, Lt Col Donovan Joynt and Sir Stanley Savige. At the 1981 comradeship Christmas party, the held a 'this is your life' tribute to President Ken Green.The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other.Brown vinyl photo album. The front cover is embellished with a double gold border. The album contains thirty pages bearing both colour and black and white photographs as well as newspaper clippings from various “Comradeship” events during the 1970s and 1980s.Inside cover - “A record of Comradeship activities / Fred Holdsworth” ? First page - “AT CRUDEN PARK / 15 May 1977” Third page - “CHAMP THE KITE MAN” Fourth page - “THE SHRINE 1977” / “THE CHAMP” / “REX” Fifth page - “Lorna Grimwade/ + Wal Escott/ at Noosa Heads, Q. / 6/10/79” Sixth page - “Max Armstrong, Rex Hall, Harry Burton, Warren Hardy” Seventh page - “Numurkah Annual 1978” / “ANZAC Night 1973” Eighth page - “STANHOPE 1979” Ninth page - “THE CHRISTMAS CHORISTERS at CHAUCERS CANTERBURY 1979.” / “FEARLESS FREDS FAMOUS FOLLIES. CHOIRMASTER. Reg Thomson. CHORISTERS. Rob Allison. Bruce Hall. Les Patch. Bill Seager. David Syme. Ron Austin. / M.C. Fred Holdsworth.” Tenth page - “ALEXANDRA YEA / ~ / FEBRUARY 1978” Eleventh page - “COMRADESHIP HIERARCHY 1979 / HAROLD BERG / DEP CHAIRMAN / JOHN COOPER / CHAIRMAN / FRED HOLDSWORTH / TREASURER” Twelfth page - “ANZAC NIGHT / ~ / 1980” Eighteenth page - “ANZAC NIGHT - 1981” Nineteenth page - “ANZAC NIGHT -1981” Twenty Second - “THIS IS YOUR LIFE / 1981 comradeship/ christmas party” comradeship, events, legatee event

Photos of a Legacy event or outing to trout farm in the Alexandra Yea area in 1978 - a mix of men and women with fishing rods. Names are unknown other than President David Carter in the brown shirt. Similar photos are in a photo album at 00013 labelled as 'Alexandra/Yea 1978'. The Comradeship committee gathered photos of events and compiled them in a Comradeship photo album for Legatees to look through. These photos may have fallen out of the album.A record of an enjoyable outing of Legatees. The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other and their desire to socialise together.Colour photos x 6 of Legatees at a trout farm.comradeship, legatee event

A guide for Chairmen of Melbourne Legacy. This copy was owned by Graham Riches. The guide contains: Section A Operations Council and Branches : The Relationship Operations Council Section B Group, Liaison Committee and Groups : The Relationship Group Liaison Committee Section C Internal Changes of Communication and Sources of Information for the Legatee Section D An outline of responsibilities and procedural guidelines for branch chairmen Section E Financial Authority of Branches Section F Guidelines for the Format and Content of Branch Minutes Section G Selection and Appointment of Branch Chairmen Section H Enrolment, Contact and Reporting Procedures Section I Procedure and Notes for Proposers of Prospective Members Section J Duty Legatee Scheme Section K Education (including Sir John Gellibrand Memorial Scholarship and the Macrae Trust) Section L Section M Welfare Section N Pensions, Benefits and Allowances Section O Widows' Committee and Widows' Clubs Section P Widows' Clubs Rules Section Q Current Rates of Social Security and Repatriation Pensions Section R Recommended List of Contractors Available for Home Maintenance (including a list of contractors that can provide services to Widows, such as plumbers, bricklayers, electricians and blind supplies and repairs) 31 yellow pages - not scanned due to it being names and addresses and phone numbers. Section S Administration Instructions An Organisation Chart of Legacy and A Table of Organisation of StaffA living document that was regularly updated for the Chairman of Melbourne Legacy to use in his duties.A4 pages x 64 bound together with split pins.L/GPA Riches in pencil on top edge.regulations, rules, objectives

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This dress belonged to Alice Frances Henty (1852-1932) the youngest daughter of Francis Henty (1815-89) and his wife Mary Ann Henty [nee Lawrence] (1821-81). It is recorded that Alice wore the dress at the age of six. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Girl's two-tone, one-piece cotton voile dress from the 1850s has a high round neck and short sleeves has a lace insert on the front of the bodice and matching lace at the rear. The layered skirt is bordered with lace. Measurements (mm): Girth - Neck 609.6, Chest 635, Waist 558.8, Cuff 203.2, Hem circumference 2108.2. Vertical - Front neck to hem 685.8, Front waist to hem 508, Back neck to hem 723.9, Back waist to hem 534.4, Sleeve length 63.5. Horizontal - Neck to sleeve head 38.1, Cross back 304.8, Underarm to underarm 406.4.fashion -- 1850s, children's clothing, alice frances henty

This afternoon dress was owned and first worn in 1875 by Alice (Henty) Hindson, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn in the same year as Alice's marriage to John Hindson at Trinity Church, East Melbourne, and may have formed part of her trousseau. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's afternoon dress is a two-piece, two-toned pink ensemble made of silk taffeta. The detailing is done with fine knife-pleated trims piped in ivory satin and decorated with ivory silk moiré bows on the bodice and skirt. The panelled peplum jacket is boned and the front button closure has hand-embroidered buttonholes with handmade covered buttons. The gathered full buttoned skirt falls into a train. The skirt is decorated with rows of ivory tulle corded lace and the hemline is edged with crisp fluted organza and tatted lace. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 863.6, Waist 685.8, Hip 787.4, Cuff 304.8, Hem circumference 1422.4. Vertical - From neck to hem 546.1, Front waist to hem 241.3, Back neck to hem 609.6, Back waist to hem 355.6, Sleeve length 330.2. Horizontal - Neck to sleeve head 60, Underarm to underarm 419.1. SKIRT Girth - Waist 558.8, Hip 1473.2, Hem circumference 3911.6. Vertical - Front waist to hem 1092.2, Back waist to hem 1524. fashion -- 1870s, afternoon dresses, alice (henty) hindson, women's clothing

This outfit belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece silk taffeta chalk-striped afternoon dress worn by Mary Ann Henty, aged 49, in the period when she lived at Merino Downs near Portland. The outfit has bands of black silk and rows of fabric covered buttons on the bodice and skirt. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 889, Waist 736.6, Hip 863.6, Cuff 254, Hem circumference 2032. Vertical - Front neck to hem 419.1, Front waist to hem 152.4, Back neck to hem 558.8, Back waist to hem190.5 , Sleeve length 584.2. Horizontal - Neck to sleeve head 165.1, Chest back 330.2, Underarm to underarm 406.4. SKIRT Girth - Waist 609.6, Hip 1270, Hem circumference 4064. Vertical - Front waist to hem 1117.6, Back waist to hem 1371.6.francis henty, fashion -- 1870s, women's clothing, afternoon dresses, mary ann (lawrence) henty

This dress is believed to have belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s

This bridesmaid's dress was owned and first worn in 1875 by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty

Alice Henty (1852-1932) was the third daughter of Francis and Mary Ann Henty. her father was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living with his wife following his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice Henty’s wedding dress, made in 1876 for her marriage to John Hindson was remodelled in 1943 for the wedding of her granddaughter, Alice Henty Hindson to Norman Lithgow Tait at Holy Trinity, Kew. It was worn again by Margaret Henty Hindson (1918-2000) at her marriage to Dougald Webster Matheson at St Paul's Church, Henty in 1944. The two piece dress has a low décolletage shaped with a collar from which two curved panels drop. The fastenings for the bodice are buttons covered with the same fabric. The bodice is completed with two full length sleeves. The full skirt is slightly flattened at the front with a long train. In contrast, the ivory silk, silk faille and satin bodice with long tails remained unaltered. The front closure of the jacket has handmade embroidered buttonholes and covered buttons. The pleated collar and sleeves are decorated with gathered silk tulle. The jacket features long tails. alice frances (henty) hindson, women's clothing, wedding dresses, margaret henty hindson

This full length lobster tail bustle was owned and worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. Bustles of this form date from the mid-1860s however this example probably dates from the mid 1870s, and perhaps from before her marriage to John Hindson in 1876. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An exceptionally rare and fine, floor length, 'lobster tail' bustle that belonged to Alice Henty possibly worn with her two-piece pink silk gown but also with other dresses that she owned that required a bustle of this shape. The structure of the bustle includes an outer layer of polished cotton with inserted steel hoops and ties at the front. The lower four hoops have flounces of the same fabric. Overall, the bustle contains 12 hoops, crossed nearer the waist and semi-circular for the remainder of the undergarment. [One of the tapes of the bustle is imprinted with the word lockstitch. Elias Howe invented the lockstitch sewing machine in 1846.] Measurements (mm): BUSTLE: Girth - Waist 660 Vertical - Front waist to hem 914, Back waist to hem 965.fashion -- 1870s, alice frances (henty) hindson, women's clothing, bustles, underwear

This hand embroidered fire screen was embroidered by Winifred Caroline Henty Hindson (1887–1967), Elsie May Eliza Hindson (1880–1968) and Louisa (Louie) Charlotte Frances Hindson (1885–1963) three of the daughters of Alice Henty and John Hindson. Their grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century. Multicoloured silk embroidered floral composition on a black fabric background created by Louisa, Elsie and Winifred Hindson. The embroidery is held behind glass and is protected by blackened wood at the back. The screen is suspended in an ebonized and gilded frame with two rows of spindle decoration. fire screens, women's work, embroidery - 20th century, elsie hindson, louisa hindson, winifred hindson

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland