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Stawell Historical Society Inc
Photograph, Mr George Jennings -- Studio Portrait
Portrait of George Jennings "Mayo Park"lubeck stawell shire president -
Stawell Historical Society Inc
Photograph, Mr George Jennings -- Illuminated Address
Illuminated Address for George Jennings "Mayo Park" Lubeckstawell shire president -
Stawell Historical Society Inc
Photograph, Mr George Lyell and Family members -- 7 Photos -- Named on the back
George Lyell and Family. 7 photosstawell -
Stawell Historical Society Inc
Photograph, Federal Mine with Poppet Head and Winch House
Poppet Head and Winch House of Federal Mine. Group of 14 men and boys standing in front of mine. George Charles Cox (Sen) fifth from right.stawell gold mining -
Stawell Historical Society Inc
Photograph, Miss Eugenie Simmons marrying Mr George Hobbs at the 2 story house "Oban" 1900 -- House built 1898
Simmons Wedding at two story "Oban" built by Edward Simmons and Family 1898. Later called “Mt. Salina” now R.S.L. in Scallan Street Stawell. George Hobbs married Eugenie Simmons in 1900.stawell houses -
Stawell Historical Society Inc
Book, Rev E H Plumptre D.D, Cassells Bible Educator (2Volumes), 1893
Presented to Mrs George Barnes, Congregational Sunday School January 26th 1893stawell religion -
RusCare Ltd. (formerly known as St John of Kronstadt Russian Welfare Society)
Award for Excellence in Multicultural Affairs, 2003
This award was presented to the Russian Welfare Society on 10 December 2003This Award is recognition of the service the Society has provided to the Victorian community.This award is a compilation of a certificate (Item no. 00006A) and a medal (Item no. 00006B). The award has a gold coloured decorative frame with a navy blue background. The medal is bronze with a small descriptive plaque beneath it. It is mounted on a blue velvet background.Certificate (00006A): "Victoria's Аward for Excellence in Multicultural Affairs - Award for Meritorious Service in the Community awarded to St John of Kronstadt Russian Welfare Society Inc" It is signed by the Hon. Steve Bracks MP, Premier of Victoria and George Lekakis, Chairman of the Victorian Multicultural Commission. Medal: "Government of Victoria Award for Excellence in Multicultural Affairs - Meritorious Service Award" Plaque: "Awarded to St John of Kronstadt Russian Welfare Society December 10, 2003"russian community, multicultural affairs, victoria -
Caulfield RSL Sub Branch
scale model of the Cenotaph,Whitehall & Spring st. Melbourne, unknown most likely 1920s
... Caulfield RSL Sub Branch 4 St. Georges Rd. Elsternwick ...It is believed that is item was constructed by a veteran in the 1920s. An identical cenotaph to that in Whitehall, London was constructed outside Parliament house in Spring st Melbourne,Australia.This model could be an engineering model for our Spring st version. please contact Caulfield RSL if you have more information. A highly accurate well detailed brass scale model,22 cm high of the original first world war memorial the "Cenotaph" at Whitehall London the UKs national war memorial. An identical cenotaph was constructed outside Parliament house in Spring st Melbourne, Australia.The design is made up of a rectangular base a broad pillar and the cenotaph or coffin on top of the pillar. 3 wreaths also feature, 2 on the narrower sides of the pillar with the years 1914 and 1918 and one wreath on top of the coffin. It has 2 coats of paint on it the second(exposed) being a poor uneven coat of, off white gloss enamel, possibly just house paint.No makers marks or date can be found on the exterior of the model. Visible are the words " THE GLORIOUS DEAD" on each of the narrow sides of the model above each wreath is a year in Roman numerals.One side side for the beggining of world war one "MCMXIV" 1914 and "MCMXIX" 1919 for the official endcenotaph, whitehall -
Caulfield RSL Sub Branch
2nd AIF brass plaque, unknown
... Caulfield RSL Sub Branch 4 St. Georges Rd. Elsternwick ...Appears to be a 2nd AIF plaque which may have belonged to SGT Robert Henry Baxter.An item which refers to the 2nd Australian imperial force and WW2.Solid Brass plaque from mold, World War 2 era Plaque comprised of 2 areas(not parts) . Upper ,rising sun emblem marked "AUSTRALIAN COMMONWEALTH MILITARY FORCES" with the number 2 under the crown. Lower, with lettering "A.I.F" on top of a tin helmet. Back of plaque has no markings, is uneven from molding process and has not been filed to a smooth finish. rising sun badge, 2nd aif -
Nillumbik Shire Council
Print (etching, acquatint, stencil): Jock CLUTTERBUCK (b.1945), Jock Clutterbuck, ‘Frosty Night Cartouche’ from 'The Baldessin & Friends' commemorative folio, 2016
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 -
Nillumbik Shire Council
Print (etching): Michael LEUNIG (b.1945 Vic, AUS), Michael Leunig, ‘Pilgrim’ from 'The Baldessin & Friends' commemorative folio, 2016
Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who 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.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
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 -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
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 -
Nillumbik Shire Council
Print (drypoint): Rick AMOR (b.1948 Melbourne, AUS), Rick Amor, 'The Ruin' from 'The Baldessin & Friends' commemorative folio, 2016
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 -
Nillumbik Shire Council
Print (etching & acquatint): George BALDESSIN (b.1939 ITA – d.1978 AUS), George Baldessin, ‘Portrait II’ from 'The Baldessin & Friends' commemorative folio, 1966 (printed 2017)
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 -
Numurkah & District Historical Society
Print - King George VI Print
Image - a coloured painted portrait of 'His Majesty King George VI' in full uniform, mounted in gold painted wooden frame with decorative trim along rim. Copy print of paintingPrinted at base image on mounting "His Majesty King George VI/From Original by W.B. McInnes." -
Numurkah & District Historical Society
Print - King George V Print
Print of a coloured painted portrait of King George V in military uniform. Print is mounted in gold wooden frame -
Numurkah & District Historical Society
Accessory - Fob-Watch
Used by Mr George BitconSilver fob watch with cover front & back. Roman numerals with circle for second hand -
Numurkah & District Historical Society
Medal - Coronation medal
Coronation medal of George VI, ring on top to attach to ribbon or other -
Numurkah & District Historical Society
Photograph - Wedding photo
Black & White photo of Mr & Mrs George Hooper, outdoor scene -
Port Fairy Historical Society Museum and Archives
Photograph, Yambuk F.C. 1920 Premiers, 1920
Players and supporters of the Yambuk Football Club. 1920 Premiers. Historic sporting photograph showing players and supporteres of the Yambuk Football Club, 1920 Premiers.Black and white photograph mounted on card, rectangular of Formal pose of group of Football players, officials and childrenYambuk F.C. 1920 Premiers. W. Ryan, Rueben Bartlett, Tom Martin, Ron Bartlett, G. Spooner, Jack Dalton, Fred Barker, Tom Leddin, Geo. Hockley. J. Spooner, Tom McInerney, Claude Bolger, Jack Carroll, x, Jack Moutray, Rol Leddin, Archie Barker, Mat McInerney. Con Carroll, Gus Crowe, Leo Barker, Frank Gracie, Frank Crowe, Len Crowe. Boy 2nd from left (holding stick) - Laurie Spooner - now lives at 75 Bank St. Port Fairy - 72 Years of age at 7.1.82 K. Fry, Orford, ?, Mick Barker, George Barker. Sitting & Kneeling:- Walter Barker, Athol Thomas, Din Burger, Jack Crowe, Mick Leddin, Stan Bence, Ike Barker, Des Barker, Jim Davidson, Jack Lanigan, Jack McInerney, Joe Carroll. Property of Leo Carroll. football, yambuk football club, 1920 premiers, yambuk -
Vision Australia
Photograph (item) - Object, RVIB Rifle Club 1st International Challenge Team 1966
In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. The club had many successful years, competing against teams from Canada and New Zealand in 1968.RVIB Rifle Club 1st International Challenge Team 1966 (Lg. -R) P. Hull (referee), J. Mallia, R.J. Hughes, R.C. Teague, J.O. Hoffman (Capt.), I.V. Leggett F.G. Berry, J.D. Machin, W.R. Leggett, W.G.C. West (referee), A.W. Alley (coach)rvib rifle club, recreation -
Vision Australia
Photograph - Image, Man using rifle at competition, 1966-2003
An image taken of a man holding a rifle whilst two other men, one wearing a Canada Rifle Club blazer, look on. In the 1960's, the RVIB approached engineer George Glover to produce equipment to allow blind people to shoot, based upon that made available at St Dunstan's Hospital in the UK. The rifle range opened in February 1966 at the rear of St Kilda Road with 30 members, and soon became involved in matches with sighted rifle clubs in the area. The club had many successful years, competing against teams from Canada and New Zealand in 1968, and had the support of ICIANZ which provided them with free munitions as well as teams to compete against. In 1977, George Glover passed away and some of the skills required for maintenance of the equipment was lost, however the club continued until the late 1980's/early 1990s.1 Black and White image of man at shooting galleryrvib rifle club, royal victorian institute for the blind -
Vision Australia
Photograph - Image, Charles Nettleton, Blind Asylum School, St Kilda Road, circa 1875
Unsubstantiated photograph of the Asylum for the Blind in 1875. The four storey bluestone building rises above a group of trees planted in the garden. A picket and wire/string fence border the unpaved circular driveway. 2 black and white images of the Guiding Light at Elanora Blind Asylum School, St Kilda Road Victoria c. 1875 Charles Nettleton 1826-1902 Spencer Scott Sandilands 546 High Street, East Preson, 3181 Melbourne, Victoria, Australia, Tel: (03) 529 8011 Fax: (03) 521 1754 33 George Street, The Rocks, 2000 Sydney, New South Wales, Australia, Tel: (02) 241 4251 Fax: (02) 2414535 Rare Prints, Antiquarian Books, Old Maps, Australiana, Antiques, Photographs, Framing c.1875 Charles Nettleton School from the Blind Original Photograph $65 Guaranteed over 100 years oldroyal victorian institute for the blind, buildings -
Brighton Historical Society
Clothing - Dress, Evening dress, circa 1860s
A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole -
Brighton Historical Society
Clothing - Bodice, circa 1865
... and later demolished. st ninians george ward cole bodice late 1800s ...A bodice belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream silk satin evening bodice from c.1865. This bodice features a very low, wide scooped neckline with a set in sleeve and four small pleats across the head of the shoulder. The elbow length, straight fitted sleeves are trimmed with a pleated ruffle that extends around the arm finishing at the elbow crease at the inside arm and tapering to mid forearm length at the back. The fitted bodice, lined with waxed linen, fastens down the centre front with eight covered buttons of the bodice fabric. The front two panels wrap around the sides of the bodice to meet another series of panels creating a princess line with a delineated central spine. The waist position is just below the natural waist at the sides, tapering to an elongated front covering the belly. From the sides towards the back it curves up to the natural waistline and then down again to a central point. The bodice is decorated with strips of the same fabric, which has been tucked, pleated and padded to create ruching. The ruching edge has a multi coloured thread, suggestive of rosettes, on both sides. In the front of the bodice, a strip runs down the centre front, concealing the buttonholes, and finishing at the elongated point. It then goes up the bodice over the bust line where it meets the neckline. It follows the neckline around the nape of the neck and back down the front over the bust line to the centre front. More strips run around the base of the fitted sleeve near the elbow above the ruffle. The rosette like coloured thread finishes the base of the ruffle. st ninians, george ward cole, bodice, late 1800s, brighton, margaret morrison ward cole -
Brighton Historical Society
Clothing - Muff, Late 1800s
... and later demolished. st ninians george ward cole muff late 1800s ...A hand muff belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn dark blue silk velvet muff, circa late 1800s. This cylindrical muff features a central lightly padded area for the hands with the sides extending un-padded a further five centimeters. A six centimeter black grosgrain and satin ribbon decorates the front. Attached from the wearers right at the edge of the padded area and falling diagonally to the left edge of the padded area, where it finishes in a decorative bow.st ninians, george ward cole, muff, late 1800s, brighton, margaret morrison ward cole -
Brighton Historical Society
Headwear - Hat, Headdress, Late 1800s
... and later demolished. st ninians george ward cole headwear late ...A lace head dress belonging to the women of the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream lace cap from late 1800s. A silk satin ribbon that encircles the back of the crown of the head, creates the structure of this cap. Towards the front it also has a net and wire-reinforced peak. Over the top of this support is a central diamond shaped lace piece of seven and a half centimeters diameter to which is attached a fine lace net that is gathered and stitched around the edge of the central lace. Two decorative bows of the same silk satin fabric are positioned on the support over the top of the lace at either temple of the wearer. "W-COLE" hand stitched on inside of band. It is unknown when and by whom this inscription was made.st ninians, george ward cole, headwear, late 1800s, brighton, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole -
Brighton Historical Society
Clothing - Nightgown, Mid 19th Century
... be confirmed. George Ward Cole was an early member of the Victorian ...This nightgown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. The item appears to have been made or altered to accommodate a pregnant belly, however purpose made maternity clothing was not common at this time. Mrs Ward-Cole’s six pregnancies took place in 1843, 1844, 1845, 1847, 1849 and 1851. The style of this garment in particular the shape of the sleeves would indicate that it is most likely to have been constructed in circa 1860, so whilst it appears to be a maternity item, and historically has been referred to as thus, this purpose cannot be confirmed. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolishedA hand sewn ivory cotton muslin nightgown, c. 1842–1850. The bodice is made of delicately embroidered muslin in a floral design. The open flat collar features a scalloped lace frill underneath. The bodice fastens with thirteen mother of pearl buttons down the centre front. After the fourth button, the remaining buttons are concealed beneath a full gathered modesty skirt, which falls from just below the bust line. The modesty panel is secured horizontally across the bodice by six mother of pearl buttons. The sleeves finish over the back and palm of the hand in two flattened peaks. The front of the gown consisting of the modesty front is full length. The modesty gown at both sides joins two panels that are an integrated part of the bodice. At the centre back there is a very full gathered panel with lace trim that falls to create a train. It is semi-attached to the bodice with a top section secured with mother of pearl buttons and small ties. The purpose of this design feature is unknown. st ninians, george ward cole, brighton, night gown, thomas anne ward cole -
Brighton Historical Society
Clothing - Dressing gown, Peignoir, Mid 19th Century
... was subsequently subdivided and later demolished. st ninians george ward ...This peignoir or morning gown is believed to have belonged to Mrs Thomas Anne Ward Cole, an early Brighton resident and wife of George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A mid blue-green cotton and lace peignoir or morning gown, c.1860. The bodice starts at the neck with a clavicle height, rounded neckline with a turn down flat collar, and is finished with a cream lace frill next to the face. The sleeve starts at the natural shoulder line and its overall silhouette is reminiscent of a soft three quarter length imbecile sleeve constructed of four layers of alternating fabrics. At the shoulder, there is a blue-green flap, which crosses across the top and back of the shoulders towards the centre upper back in a 'v' shape. Here it finishes where it meets with the gathered top of the fabric that creates the train. Underneath this shoulder flap is a gathered, long cream frill that finishes just above the elbow. Underneath this frill is the full gathered blue-green sleeve. Finally falling from this a second gathered long cream frill finishes at the three quarter arm. The bodice buttons with five metal buttons from the neckline to just above the bust. Here it meets a heavily gathered front in two pieces, which falls with fullness to the floor. This full section is secured closed at the centre front with four hooks and eyes over the bust and then continues with shell buttons through the remainder of the garment.st ninians, george ward cole, morning gown, peignoir, brighton, thomas anne ward cole, margaret morrison ward cole, agnes bruce ward cole