Photomenadue, plummer, meikeljohn

Presented by Melbourne Theatre Company, production by the Marian St Theatre. The play was written by the playwright Tom Kempinski for his wife the actress Frances De La Tour and has been produced in London, New York and Europe. It details how a violinist crippled by multiple sclerosis adjusts. Paper program :good conditionduet for one, athenaeum theatre, program, melbourne theatre company, tom kempinski

Brochure advertising auction of Vermont P.O. Estate, 38 lots, 1 May 1920. Auctioneers: Sydney T. Haynes, L. Wheeler, C. Jack.Brochure advertising auction of Vermont P.O. Estateauctions, vermont post office estate, canterbury road, vermont, boronia road, frances avenue

Interview with Kate Crombie about her memories.Interview with Kate Crombie about her memorieskate, crombie, kate, forest hill, canterbury road, forest hill, mount pleasant road, forest hill, vermont primary school, no. 1022, coone, pat, giles, nancy, drake, dorothy, walter, roy, box hill grammar school, crombie, olive, kelly, burt, frances avenue, vermont, jack, mrs, vermont, jack mr, boronia road, vermont, seton-williams, mr, birnie

2 Copies of Family Group of Schwerkolts.van prooyen, hogan, les, schwerkolt, francesca, louis, frances dora

Copy of photo of Schwerkolt Family Groupschwerkolt, louis, francesca, hogan, frances dora, les, hansen, james

Receipt (30 June 1946) issued to Mrs F Schwerkolt from G L Oliver. Real Estate Agent, 232 Como Parade, Parkdale, for 4 weeks rental by Knott for 25 Ti Tree Grove, Parkdale, which was the holiday home of Francesca Schwerkolt called " Mitcham". Record includes an envelope addressed to Mrs Hogan, Mrs Schwerkolt's daughter.Rental receipt for Mrs Schwerkolt's house at 25 Ti Tree Grove, Parkdaleschwerkolt. francesca, eriksson pearl eileen, hogan frances dora

Joseph Parker was the son of Edward Stone Parker and Mary Cooke Parker, Protector of Aborigines at the Franklinford Aboriginal Protectorate.Parker Gravestone at Franklinford Cemetery"In memory of Amelia, wife of Joseph Parker, Died 15th OCt. 1893, aged 71 years. Joseph Parker 1831-1917. Second son of the Protector Authority on Aboriginal Lore. Also, their children Francis Ware, died 23rd April 1862, aged 10 months. Mary Francis, Died 24th March 1866, aged 3 years. frankinford cemetery, edward stone parker, mary cooke parker, protector of aboriginies, mount franklin aboriginal protectorate, joseph parker, amelia parker, francis ware parker, mary frances parker

Sepia photograph of four young women in bathers on the beach during the St Luke's Anglican Church Sunday School Teachers' picnic at Seaford in 1947.st lukes anglican church, vermont, warren frances, harris maisie, webster margaret, morris phyllis

Forty-four page dark red covered report with a red shaded photo/drawing of a young man on a skateboard, titled Storm Sequence (2000) by Shaun Gladwell. In the front of the book is a loose letter mentioning the 2007 annual Report, covering their activities of the Trust for the year. Titles in the book are: About Our Founder and Her Legacy; Trustee's Report; Grants Overview; Grants Approved in 2006-2007, which are Aged Care, Arts, Culture & Heritage; Community Support; Disability Care & Support; Education; Employment & Vocational Training; Environment; and Health; Investments and Grants - An historical perspective, Financial Summary and An Historical Insight: The Smiths in Australia. Most chapters have information.Helen Mcpherson Smith Trust Annual report 2007helen macpherson smith trust annual report 2007, helen macpherson schutt (nee smith), darvell m hutchinson am, j barry hutchins oam, frances h awcock am, keith b smith, anthony baird, darren mcconnell, liz gillies, sarah bartak, pamela beech, lonia catalano, beolite village, bundji bundji, odyssey house victoria, macpherson smith community alliance, brotherhood of st laurence, dolphin research institute, howard florey institute, the jean hailes foundation for women's health, historical insight - the smiths in australia, shaun gladwell

This framed compilation was presented to Councillor Thomas Wilson J.P., President and Trustee, by the Members & Committee of the Brighton District Brass Band as a token of esteem on 23 September 1915.brighton district brass band, band, brass band, councillor, committee, members, w.a. adamson, d.e. mcbryde, cr. g.h. alford, cr. j.j. hanby, cr. t. wilson, cr. w.p. frances, cr. j.r. burrows, j.h. taylor, d. bridgen, h.l. glenn, g. sheppard, d. mcpherson, w. octagon, h.r. wonnacott, w. booker, j. grundy, e. sangwell, h. teeson, c. dunham, w. lawrence, l. blight, h. leftley, g. rumney, f. monk, j.j. passe, a.e. brown, h.j. thorns, n.l. orford, a. grant, j. monk, w. graham, g. nickells, c. temme, h.f. northe, e. harding, g. reed, w. mason, w. lott, h. cooper, j. eldred, h. holmes, a. brame, sepia photograph, portrait, gainsborough studios

The owner of the 'Autograph' book was Mary Alys (Gipps) Kirkland, the daughter of Richard Brook Woodthorpe Gipps (c.1872-1946). The family had migrated from Great Britain to Coorparoo, Brisbane, where most of the items in the album were created. In June 1925, The [Brisbane] Telegraph reported the wedding of Richard Gipps to Mary Alys Kirkland at Elvaston, The Righi, South Yarra. The bride, like the groom, was originally from Queensland, but at the time of her marriage lived with her parents at 21 The Righi. The album passed to their daughter Rosemary Alison (Gipps) Vaughan-Smith, and thence by donation to the collection of the Kew Historical Society. While the signatures are interesting, they are not rare. Rather it is the illustrations that dazzle with the surety of their design and execution. In the portraits, one can recognise the debt that Edwardian art and design owed to the Pre-Raphaelites whose serene and poised idealisations of women are exemplified in the drawings, albeit simplified for a new 20th century sensibility. Typical, is a very early portrait from 1906 of Mary Alys Kirkland by a 20-year-old Garnet Agnew (1886-1951). Agnew later became an illustrator for The Brisbane Courier and The Queenslander Illustrated Weekly, creating cover illustrations for these publications between 1926 and 1930. Another pen and ink portrait of Mary Alys Kirkland was created in 1910 by Augusta Frances Isabel Hobday (1884-1961). Augusta, with her brother and sister, Percy Stanhope Hobday and Gladys Hobday, were artists and teachers. Each was involved for many years in the Queensland Art Society. While the album has historic, aesthetic and social significance to Brisbane’s history, as a document, its preoccupations have a wider Australian relevance and importance. Compiled between 1905 and 1922, the 'Autograph' book has considerable aesthetic coherence, even though drawings and text are by different hands. Together, it provides a vivid depiction of social life and values in Brisbane in the period preceding the First World War. Like other autograph albums of the period, it is a compilation of pen and ink sketches, watercolours, quotations, poems, aphorisms and signatures. Most entries are from Queensland, particularly Coorparoo in Brisbane; friends and acquaintances from other Australian States also contributed items. The autograph album predictably contains numerous mementoes of the notable and the forgotten. It includes the signatures of the British contralto Dame Clara Butt (1872-1936) her husband, the baritone R. H. Kennerley Rumford (1870-1957), and that of the Australian actress and singer Nellie Stewart (1858-1931). autograph albums, manuscripts - kew historical society, rosemary vaughan-smith, vaughan-smith collection, dame clara butt, garnet andrew, augusta frances isabel hobday, coorparoo - brisbane, nellie stewart, mary alys kirkland, mary alys gipps (nee kirkland)

Following a Royal Commission in 1854, the building of a new Asylum at Kew began in 1864. It was built to replace the Yarra Bend Asylum on the Fairfield side of the Yarra River. Work started in 1864 and was completed in 1872 at a cost of ₤198,334. Operating over a period of 116 years, and often renamed to take account of public sensitivities, the ‘Kew Lunatic Asylum’ was one of the largest asylums built in Australia. ‘Willsmere’ was finally closed in December 1988 and sold by the Government of Victoria in the late 1980s.A rare and historically significant photograph of female staff of the Kew Hospital for the Insane, in front of the central wing. The photograph is one of a pair donated to the Kew Historical Society by Frances Dorothea Van Brummelen (1931-2011) in 1994. Following her graduation as a social worker, Fran Van Brummelen joined the staff of Kew Cottages in 1969, and became senior social worker there in 1971. She remained at the cottages until she retired in 1994. Earlier, In 1987, with psychiatrist Cliff Judge, she founded the Kew Cottages Historical Society becoming its president. In 2002, the pair collaborated on the book Kew Cottages: the World of Dolly Stainer, which was later commended in the Victorian Community History Awards. Panoramic photograph of group of female staff in north courtyard, in front of Administrative Wingkew lunatic asylum, kew mental hospital, kew hospital for the insane, willsmere

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

The photograph in the Kew collection is undated and only three of the personnel identified. Based on information provided by Geoffrey Stephens, it is now possible to identify those present. His photograph belonged to his father who is pictured. The annotations include: Back Row L to R - E GOODYEAR (Farm), MATTHEW LYNCH (Junior Fireman), K DAVIS (Farm), C RICHARDS (Carpenter). Middle Row L to R - H HAMPSON (Store), S PATTERSON (***), D BANKS (Head Porter), F TAYLOR (***), J CARROLL (Engineer Machinery), A MEYER (Bootmaker), G HUME (Farm Manager), S STEPHENS (Soap), MATTHEW LYNCH (Senior Gardener), B GRAY (Tailor), F GALE (Carpenter), R **** (Painter), H JEWELL (Tinsmith), * JERRAM (Painter), T TAYLOR (Tailor), L MORAN (Farm), I SEVIN (Carpenter), E GOODWIN (Fireman), F WHEELER (Blacksmith). Front Row L to R - __ (Housekeeper MB), PUDDSPORT (Matron FB), J THOMPSON (Dispensary), Dr JOHNSON, Dr RYAN, Dr HOLLOW (Superintendent), G STUART (Secretary), W CHRISTIE (Chief Clerk), K PALMER (Clerk), K PALMER (Clerk), J BATHISCOMBE (Clerk), T FARRELL (Head Attendant MB), ? ELLIS (Head Attendant Children's Cottages), MOLLOY (Matron Children's Cottages), G AKERS (Upholsterer), G STEWART (Painter). It should be noted that it is sometimes difficult to read the handwriting. The names above have been verified through magnification but should be validated through research.A rare and historically significant photograph of the staff of the Kew Asylum in front of the main administration building. The photograph is one of a pair donated to the Kew Historical Society by Frances Dorothea Van Brummelen (1931-2011) in 1994. Following her graduation as a social worker, Fran Van Brummelen joined the staff of Kew Cottages in 1969, and became senior social worker there in 1971. She remained at the cottages until she retired in 1994. Earlier, In 1987, with psychiatrist Cliff Judge, she founded the Kew Cottages Historical Society becoming its president. In 2002, the pair collaborated on the book Kew Cottages: The World of Dolly Stainer, which was later commended in the Victorian Community History Awards. This photograph appears in the book.One of a pair of panoramic photographs donated by Fran Van Brummelen in 1994, and dating from c.1924. The photo is mounted on brown card and shows senior staff of the Kew Hospital for the Insane, posed in front of the main administration building. kew mental hospital, kew lunatic asylum, kew hospital for the insane, willsmere

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The badges form part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.The use of common symbols for a range of purposes is sometimes a feature of wartime and post-war fundraising buttons. Like the ‘Hospital Day 1919’ badge, the ‘Come Back to God’ badge is within a seven pointed star on a dark blue ground with sprays of wattle; attempting to harness nationalism with religion.Come back to Godbutton

Most of the ephemera assembled by Francis Rigg were patriotic buttons but also included come sporting event buttons including two associated with the East Kew Citizens Sports Carnival. The subdivision of the area now known as Kew East commenced before World War 1, but it was not until the 1920s that it became fully developed. At this time, there was a strong Progress Association and this body raised funds to purchase land and build the East Kew Citizen’s Hall in Normandy Road, the first stage of which was completed in 1922. This hall was designed to be extended, although this never occurred, and the building now forms part of the facilities of the East Kew Uniting Church. The ‘East Kew Citizens Sports Carnival’ may well have been a fundraiser event for the building fund. As far as is known, the carnival was only held for a couple of years.Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.A circular badge produced for the East Kew Citizens Sports Carnival in 1924. The badge has a ground of vertical stripes in shades of blue. The name of the event is within a white circular band. A white shield in the centre includes the words “Admit” which would indicate that the badge was purchased and worn on the day of the carnival to indicate that the wearer had paid the admission fee."East Kew Citizens Sports Carnival / Admit 13 Dec. 1924"kew east, sport buttons

Most of the ephemera assembled by Francis Rigg were patriotic buttons but also included come sporting event buttons including two associated with the East Kew Citizens Sports Carnival. The subdivision of the area now known as Kew East commenced before World War 1, but it was not until the 1920s that it became fully developed. At this time, there was a strong Progress Association and this body raised funds to purchase land and build the East Kew Citizen’s Hall in Normandy Road, the first stage of which was completed in 1922. This hall was designed to be extended, although this never occurred, and the building now forms part of the facilities of the East Kew Uniting Church. The ‘East Kew Citizens Sports Carnival’ may well have been a fundraiser event for the building fund. As far as is known, the carnival was only held for a couple of years.Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.A circular button produced for the East Kew Citizens Sports Carnival in 1922. The button has a ground of vertical stripes in shades of blue. The name of the event is within a white circular band. A white shield in the centre that includes the words “Admit” would indicate that the badge was purchased and worn on the day of the carnival to indicate that the wearer had paid the admission fee. "East Kew Citizens Sports Carnival, Admit 2nd December 1922"east kew, east kew citizens sports carnival, sports, badge, numismatics, francis rigg

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The button forms part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration. The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Round metal button in red, white, blue and gold showing a sun setting over the sea with words printed in red around border and on lower outer rim.hospital day, patriotic buttons, first world war (1914-18)

Published by the Deaf Committee of the Adult Deaf and Dumb Society of VictoriaThe Victorian Deaf News' Newsletter is a significant publication as an historical record giving and insight into the people, activities and events of the Deaf Community in Victoria.Vol 2 No. 8 April 1938; Size 24.5cmHx19cmW; 12 pagesfrances leila peters, ernest j. d. abraham, principal's garden party, christmas rally, foundation day picnic, george parker, foundation day picnic, women's guild, cricket, basketball, tennis, lacrosse, jack mclean, annual bay trip, mens guild, j. mclaurin, j. hunt, easter rally, william o'keeffe, t. newton, mrs m. briner, egbert pallott, james walters, mona stevens, phyllis johnstone, cliff ellwood, george boyce, monahan, ernest a. reynolds, sutherland, willie elwin, george mcguinness, f. kendall, gertie kinsella, joy tampion, evelyn lloyd, l. treffene, alice smith, paqualin, j. williams, andrew rankine, percy smith, h. williamson, len treffene, t. beard, w. hately, w. a. ross, norma rawlins, a. salmon, arthur hately,

This book was produced as part of a raft of community projects under the umbrella of COWCH (City of Whitehorse Community Houses) with funding from the federal government. Projects aimed to celebrate the Centenary of Federation by recording a broad base of aspects of life and experience in Whitehorse drawn from a cross-section of ordinary members of the community. The steering committee for the book worked with the management of the Vermont South Community House - Marjorie Morgan, Carol Pawsey, Val Eldridge, Sue Barnett, Anne Jones, Margaret Banks and Murray Lewis (editor).A collection of stories contributed either as written memoirs or drawn from oral histories that reflect the ways in which the contributors have been associated with the City of Whitehorse. Title page: stamp top right hand corner :Surrey Hills/ Neighbourhood Centre / 157 Union Road; Hand written note "Gifted to Sue Slonek/by Sue Barnett/ Sept. 2012; stamp: Surrey Hills History - top of page.whitehorse, (ms) susan barnett, (ms) susan johns, (mr) arthur tonkin, (mrs) kathleen beanland, (mrs) nancye gration, (mr) norman kerr, (mr) murray lewis, tara cameron, andy hannam, christine howarth, danielle burgess, yeek hoon tija, ian grandy, frances warren, jessie williams, joan nethercote, joyce kotze, john pawsey, hope hughes, thelma osborn, margaret sharp, merle forrest, catherine jenkins, ted o'rourke, judy gordon, george ellis, rene stevens, albert stevens, jessie barnes, mary roberts, howard broadstock, valda broadstock, nelliesutherland, jean johnson, evan walker, joan roberts, pat nitz, joan crummy, patrick crummy, ray stanfield, plaatjien braaf, kath ferrugia, noelene whitaker, margaret wood, phyllis johnson, marie stubbs, eileen pearson, jennifer o'sullivan, joy edwards, virginia burns, walter thompson, mae buckingham

This book was produced as part of a raft of community projects under the umbrella of COWCH (City of Whitehorse Community Houses) with funding from the federal government. Projects aimed to celebrate the Centenary of Federation by recording a broad base of aspects of life and experience in Whitehorse drawn from a cross-section of ordinary members of the community. The steering committee for the book worked with the management of the Vermont South Community House - Marjorie Morgan, Carol Pawsey, Val Eldridge, Sue Barnett, Anne Jones, Margaret Banks and Murray Lewis (editor).A collection of stories contributed either as written memoirs or drawn from oral histories that reflect the ways in which the contributors have been associated with the City of Whitehorse. A Federation Project of the Collective of Whitehorse Neighbourhood and Community Houses.whitehorse, (ms) susan barnett, (ms) susan johns, (mr) arthur tonkin, (mrs) kathleen beanland, (mrs) nancye gration, (mr) norman kerr, (mr) murray lewis, tara cameron, andy hannam, christine howarth, danielle burgess, yeek hoon tjia, ian grandy, frances warren, jessie williams, joan nethercote, joyce kotze, john pawsy, greg bawden, hope hughes, thelma osborn, margaret sharp, merle forrest, caterhine jenkins, ted o'rourke, judy gordon, george ellis, rene & albert stevens, jessie barnes, mary roberts, howard & valda broadstock, nellie sutherland, jean johnson, evan walker, joan roberts, pat nitz, joan & patrick crummy, ray stanfield, plaatjien braaf, kath farrugia, noelene whitaker, margaret wood, phyllis johnson, marie stubbs, eileen pearson, jennifer o'sullivan, joy edwards, virginia burns, walter thompson, mae buckingham

Laminated copy of b/w photograph of 3 students sitting reading in the grounds with Jim Newell standing behind them.On reverse, "Burnley 1948. Jim Newell, C.R.T.S. Students-Francis (sic) Cross, Rita Brown, Shirley Pittard."students, jim newell, 1948, crts, rita brown, shirley pittard, frances cross, commonwealth reconstruction training scheme