This was the home of John Inglis Lothian, father of Thomas Lothian of St Abbs 33 York Street, Mont Albert. John Inglis Lothian was a bookkeeper, who with his wife Lillias Charlotte, née Smith, arrived in Melbourne in July 1888, John having come to represent the publishing firm of Walter Scott. The children had been invited to a garden party where they entertained themselves making daisy chains. Left to right: Emily Broadfoot, David Dory, Betty Hopkinson; at back John Hopkinson; front right Jean Lothian.A black and white photograph of some children holding daisy chains they have made.tantallon, house names, york street, mont albert, (mr) john lothian, (mr) thomas lothian, (miss) emily broadfoot, (mr) david doery, (miss) betty hopkinson, (miss) joan hopkinson, (miss) jean lothian, john inglis lothian, thomas carlyle lothian

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

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

Collection of images taken by the Royal Blind Society of New South Wales and used by Ron Black to promote the work of the society. These include a young child finger painting, an adult walking a rope bridge, rowing, a talking book machine (TBM), a narrator in the studio, Rob McQuillan using a TBM, staff sorting mail, transcribing print into Braille and proof reading Braille, Dawn Davis with a refreshable Braille display, and daily home living skills such as cutting up food, using a CCTV to read a newspaper and Michael Simpson using a computer in the office.14 coloured photographs previously stored in albumroyal blind society of nsw, rob mcquillan, dawn davis, michael simpson

These minutes include Present, Apologies, Correspondence, Registrations, Reports and Interviews with workers. 16/12/1938 it was noted the Secretary created a brochure called 'Social Justice for the Blind' and other publications for promotion of the organisation. It was also reported re the Institutions decision to pay Christmas pay on the basis of Married pensioners, £3-7-6, Married non-pensioners £4-7-6 per week and single men £2-2-6 per week. The child allowance has been discontinued. Meetings were often held in private homes or in spaces provided by churches.1 volume of handwritten notesassociation of victorian blind workers, royal victorian institute for the blind

Nine coloured photographs of the residents and surrounds of the Seimei Association for the Welfare of the Aged Blind Inc., Oume City, Tokyo, Japan. A brief description describes the scene: Princess Chichibu-no-miya welcomed by the Australian & Japanese representatives for the sisterhood & 30th Anniversary Ceremonies. Residents Band and Choirs. Origami made by Residents. Displaying sister organisations Proclaimation, 8th June 1985. Seimei Association for the Welfare of the Aged Blind, Oume City, Tokyo. Staff enjoying celebrations. Japanese artefacts. Residents enjoying mealtime. Garden outside entrance and Kotobuki-so Nursing Home.Digital Imageassociation for the blind

This photograph shows Royal District Nursing Service (RDNS) Sister (Sr.) Moira Coates doing Liaison work at St. Vincent's Hospital in Melbourne. Miss C. Healy is St. Vincent's Home Care Supervisor and she and Sr. Coates are discussing plans with Miss E. Monks for the future care she requires following her discharge from hospital. Sr. Coates is wearing the RDNS uniform of a royal blue dress with white piping around the peaks of the collar. An RDNS logo is on its upper left. She is wearing a darker blue jacket.Liaison had occurred between Doctors and the the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), Trained nurses (Sisters), but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. They facilitated the smooth transition from hospital to home for many patients who required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective patients, co-ordinated discharge and booked the first visit by the visiting RDNS Sister. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the Hospital Doctor, via the Liaison Sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters and Doctors when patients were referred by General Practitioners and did not attend a hospital.In the left foreground of this black and white photograph is Miss C. Healy who has collar length dark hair and is wearing a hospital uniform dark cardigan over a white blouse and dark skirt. She is sitting on a kitchen style chair and has an open folder; a pen in her right hand is poised over a white sheet of paper. She is smiling and looking to her left at Miss E. Monks who is resting in a bed in front of her. Standing to her right, and at the head of the bed, is RDNS Sister Moira Coates who has short dark hair. and is wearing a dark jacket over a dark colour dress with white piping on the collar peaks. Her identity card is clipped on the right hand pocket. She is smiling at Miss Monks and has her left hand on an RDNS leaflet which Miss Monks is holding. To her right is Miss Monk who has short dark hair and wearing a light coloured nightdress. She sitting up supported against pillows on a hospital bed which has the top section raised. She is looking at the RDNS folded leaflet; two photographs and writing can be seen on the front cover. White bedclothes cover most of Miss Monks body. Drawn curtains are seen in the left rear of the photograph and some switches and a name card are seen behind the bed. Barry Sutton. LJ93 and namesrdns, royal district nursing service, rdns liaison, rdns uniform, sister moira coates, miss c. healy, miss e. monks

Hardcover book made in 1968 made to keep original copies of “The Football Record”. This book contains all Football Records relating to Carlton games for the home and away season of 1968. Carlton would win their ninth VFL/AFL premiership in 1968 defeating Essendon by 3 points in the 1968 Grand Final. Essendon 2.1 5.1 6.4 8.5 53 Sat 28-Sep-1968 2:50 PM Att: 116,828 Venue: M.C.G. Carlton 2.2 6.8 7.9 7.14 56 Carlton won by 3 pts Hardcover book, navy blue

Letter was sent to Burnbank, former Ann Dowling (Miers) 1866 Crown Grant. In 1867 she married Henri Miers and their house was located on the site near the Myers Gully part of Ryans Creek. Built in 1867 and later named “Burnbank” by Martha Myers after the Street in Ballarat were she lived before arriving in Melton in 1907. “Burnbank” was vacated by Martha to her new house built on the family land in McKenzie Street. A demolition order imposed by the Housing Commission and it was pulled down by the family in 1969. It was the home of the family and stood for over 100 year.Letter from Edna Barrie and Bruce Myers, children of Martha Myerslocal identities

A copy of a flyer that explains what Legacy does, printed in the 1960s. Photos include legatee advising a family, girls classes and boys classes, a hike and widows. It is an example of Melbourne Legacy promotional material that was issued to inform the public on the work of Legacy. It includes the story of Legacy and what Legacy does. Headings include: Care of families ; Welfare ; Education and Training ; Boys' and Girls' classes ; Holidays and camps ; homes ; Widows' Club. Legacy's phone number had changed again to 663 3564. Was compiled in a folio of proforma stationery. A similar set of proformas are at 00338.A record of forms and items used in Legacy's business practices in the 1960s.White brochure with black and white photos pasted on brown paper from a folio of forms and brochures from the 1960s.proformas, stationery, legacy promotion

Time heals all wounds. Federation is now a fact, and Sean O'Day, managing partner in Gooloora Station can look far across the rolling country in which his children will grow up as individual members of a single nation. There is still much to be done, and the miles, and the years, and the future are calling him to the task, while the Mona Lisa-like expression of his young bride seems to say, "Yes, you have your dreams of a world to run, but I can find all my happiness in running a home for you!" FINIS.The album and images are significant because they document literature written by a prominent member of the Wodonga community. The presentation of this precis was supported by several significant district families and individuals.Ringer's River Album Coloured photo - Final Scene.des martin, many a mile, ringer's river, northeast victoria stories

Photo of the matron and 5 members of Holmbush in the driveway of the home. The matron is likely to be Dorothy Farmer, who was matron of Holmbush for many years.The other names are not known. There are two other photos of the occasion, see 02339 and 02340. From a photo album which contains photos of Holmbush and some of the excursions and events that happened there, appears to have been put together in the 1940s. Including trips to the zoo and picnics. Holmbush at 1267 Burke road, was one of the properties that Legacy used for Junior Legatees. It was purchased 1942. In 1957 Holmbush was renamed Blamey House until it was sold in 1977.A compilation of photos of some junior legatees in the Legacy residences.Black and white photo of matron and 5 young adults in the driveway at Holmbush pasted to the pages of an album.residences, holmbush, matron

The girls are Elizabeth Lock and Nanette Hunt. The photograph was taken in the garden at the former Donaldson family home in Sussex Street, Linton. Unfortunately, the house is not shown - the view is across Sussex Street to a cottage on the other side of the road. Elizabeth Lock's aunt and uncle, Vera and James Johnson, bought the house from the Donaldson family in the mid 1930s. Elizabeth Lock, b.1934, often stayed for extended periods with her aunt and uncle and briefly attended school at Linton in 1941. Nanette Hunt, b.1931, was the daughter of William George Hunt, Postmaster at Linton in the 1930s.Black and white copy of original photograph which shows two small girls dressed in fairy or butterfly costumes. They are standing underneath trees in a garden. A cottage with a verandah can be seen in the background.On reverse: "L - Beth Watson, age 3 / R - Nanette Hunt / (Post Master's daughter) / Front garden, / Dr. Donaldson's / circa 1937".elizabeth lock, nanette hunt

non-fictionA typescript with some pages handwritten of the life of Nathan Spielvogel founder of the Ballarat Historical Society, teacher and community leader. Tied at top corner with ribbon.memoir, spielvogel, ballarat, dimboola, jewish

The women in the photograph were members of the Sunbury Red Cross in 1915 and was taken during the years of World War 1 at 'Rupertswood Mansion' one of the Clarke family's homes. Over those four years the local people supported the war effort in many ways. School children knitted garments for the soldiers, Food parcels were sent away to the Front. Local events were held to raise money for the war effort. Many events supporting the war effort took place at Rupertswood and the Sunbury Red Cross frequently gathered at the mansion.On the Homefront members of the Sunbury community worked tirelessly to support the war effort and leading this movement was the local Red Cross.A non-digital sepia photograph with a narrow cream border of a group of well-dressed women posing for a photograph in front of a large mansion. A note on the back states that it is an original photograph which was taken in 1915. sunbury red cross, red cross, world war 1, rupertswood mansion, sir william clarke

A slab construction cottage built in Ripplebrook in 1880 as a home for a single female landowner by the name of Ada Donaldson, and later relocated to Labertouche. It was donated to Old Gippstown by the Mason-Brook Pastoral Co. of Labertouche. A small building of horizontal timber slabs. It has a verandah over the front entrance and the front porch, a main living area with a cast iron stove in the fireplace and a separate room (probably a bedroom). There is a stone chimney on the back wall and the roof is shingled. Originally a cottage in its own right, the slab kitchen is now a part of the Bushy Park display.Medium local historic significance.A small building of horizontal timber slabs. It has a verandah over the front entrance and the front porch. There is a stone chimney on the back wall and the roof is shingled. This building was built in 1880sout kitchen, old gippstown, west gippsland, gippsland, gippsland heritage park, goldfields, coal mine, victorian era, moe, historical village, timber slab cottage, ripplebrook, labertouche, mason-brook pastoral co., baw baw shire, latrobe valley, old gippsland heritage park, gunaikurnai, latrobe city council

Framed portrait of Elsie Henderson who was a tireless worker for the Association for the Blind. From 1934 until the 1960s Elsie Henderson worked at the Association for the Blind as a home visitor for women who were blind or vision impaired. Blind herself, Ms Henderson had 300 women on her visitation list and would visit three to four women daily. She wears a mid-blue jacket with a floral shirt, pearl necklace and her MBE attached to her jacket. This painting hung in the former Kooyong Day Centre until it was demolished in 1999.1 art original in frameelsie henderson, association for the blind

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand.The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.'Roseneath' was constructed in stages in the I850s by John Ambrose Kitchen, a soap-maker. In 1870 the brick house received an N.A.V. of £60 while in 1885 it was purchased by Edward John Dunn, a geologist. A new wing was built at the right side of the house and several rooms as well as the coach house, loft and groom's quarters were added. In 1903, during Dunn's ownership, the property was described as having eight roorns. The garden is recorded as having been designed by Baron von Mueller who was the Government Botanist from 1853. Source: City of Kew Urban Conservation Study, 1988"32"historic houses -- kew (vic.), roseneath -- pakington street -- kew (vic.)

This small kettle was from the home of Mrs Streizel and the family of Mrs Adamson. Kettles were used as a domestic item to boil water safely without the concern that the metal may contain lead or arsenic as earlier utensils had. The household depended on constant hot water availability for all cooking, washing and other household chores. These small kettles would have been used perhaps at the table to add water to the teapot instead of using the heavy large cast iron ones over the open fire or on the stove. This one is from the early 1900's.A small dark blue enamel hot water kettle with a black curved moveable handle riveted onto the top sides and a goose neck spout. It has a removable lid with a small knob. White enamel interior. kitchenware, kitchen equipment, kettles

This embroidered white ruffled pillowcase was handmade. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future Pillowcase, rectangular in shape with a ruffle edge, white with white floral embroidery. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, pillowcase

Shaving soap scuttles are distinguished from shaving mugs by having a separate area for hot water. The hot water is for dipping a shaving brush into to make a lather with the soap which is then applied to the skin before using the razor. Vintage scuttles are often elaborately decorated. Between 1880 and 1920 is the original time period for the occupational shaving mug. Most men owned a shaving mug, either at home or at a barber shop. Mugs purchased for home use typically were purchased through local stores, had more variety in style but usually went without a name. Barber shops sold mugs with the owners’ names on them partly because they thought that shaving rash came from sharing the same soap. In reality, the rash was not a result of soap but of unsterilized razors. Transfer ; The Duryea Motor Wagon was among the first standardized automobiles and among the first powered by gasoline. Fifteen examples were built by the Duryea Motor Wagon Company of Chicopee, Massachusetts, between 1893 and 1896. Their enterprise followed the first commercially available automobile which was patented by Karl Benz on January 29, 1886, and put into production in 1888. The Duryea Motor Wagon remained in production until 1917. The Duryea brothers entered their horseless carriage in many shows and races. A china shaving mug / scuttle with a car transfer. The mug has a wide spout to hold / insert the shaving brush , a perforated tray opening at the top to hold the soap and a bulbous base for the hot water. car transfershaving equipment, safety razors, cheltenham, early settlers, moorabbin, shaving soap sticks, shaving brushes, shaving scuttles, shaving rash, infectious diseases, barber shops,

Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13

The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig.

Bishops Palace was built in 1877 as the home for the first Catholic Bishop of Ballarat. Designed by Melbourne architect, Joseph Reed, of Reed and Barnes, it was built by George Broom at a cost of £6,000. Reed and Barnes also designed Melbourne’s State Library, Ripponlea Estate and the Melbourne Royal Exhibition Building. The original heritage-listed gold lead stencilled paintwork that can be seen in the front entry and on the staircase walls at Bishops Palace was replicated in the Royal Exhibition Building. The original property was 140 squares set on 11 acres of gardens and took up an entire block of Sturt Street. This was on scale with the importance of Ballarat as a gold-mining centre at the time. Bishop's Palace is of architectural, aesthetic and historical significance to the State of Victoria. The two-storey bluestone mansion is an impressive example of 19th-century Gothic architecture with an unusual design. It retains many of its original features, including lead stencilled paintwork, cornices, ceiling roses, fixtures and fittings. Since sold by the Catholic Church the Bishops Palace has undergone a number of transformations in its lifetime, from the home of the first Bishop to a private residence, and today, as a luxurious accommodation, wedding and events venue. The grounds were subdivided over the years, and the property is now surrounded by four of the original 11 acres of gardens. It opened its doors to the public in 2019.Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron, catholic church

Ernest W (Bon) Barrie, 1909 – 1985 Melton Fire Brigade (and predecessor Bush Fire Brigade) Apparatus Officer, 1945 - 1953 Captain, 1951 - 1965 Mt Cotterill Fire Brigades’ Group Elected Group Officer, on the formation of the Group, 1967. As Group Communications Officer he operated the VL3 LY base radio station from home on a 24 hour basis for fire brigades of Melton, Rockbank, Sydenham, Diggers Rest, Toolern Vale, Truganina and Werribee. With his brother Edgar, he built the first Melton Fire Truck. It was housed on the family property until a fire station was constructed in the Melton township. Recipient of the Queens Medal, 1979 Recognised for 44 years of service on the Melton Fire Brigade Memorial Wall Plaque, dedicated May 2013 Mt Cotterell Fire Brigades G H Q and aerial was erected at No 17 - 19 First Avenue in 1974 at the home of Edna and Bon Barrie. Previously the Mt Cotterell Group VL3LY communication headquarters occupied their h ome in Ferris road at its inception in 1967. The First Avenue headquarters and map room, with radio equipment was also housed at the residence. It was operated with an additional cable connection to Fireman Wayne Sullivan (Deputy C/O) who resided at the rear in Kurrajong Cr.Section of the Melton Fire Brigade Memorial wall with brigade members who have passed away while as members. emergency services, local identities

Born Celia Elizabeth Prince in 1930, Celia Rosser began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria. She lived in Orbost in the 1960's( her husband had been posted to Orbost High School) where she painted and drew native flowers , in particular, banksias. Her first exhibition was at Leveson Gallery in Melbourne in 1965, and included three watercolours of Banksia species. Two years later she published Wildflowers of Victoria.Celia Elizabeth Rosser (born 1930) is a renowned Australian botanical illustrator, best known for having published The Banksias, a three-volume series of monographs containing watercolour paintings of every Banksia species. She began painting Australian wildflowers early in her artistic career. She first began painting Banksias after seeing a Banksia serrata near her home in Orbost, Victoria.A small book titled Wildflowers of Victoria and written by Celia Rosser. It was published in 1967 by Jacaranda Press. The covers are stiff card and it has an illustration of a banksia on the front cover. It has 105 pp and contains coloured illustrations. This book was the third part of the Jacaranda wildflower guides series. The book is designed to carry around in a pocket or purse.rosser-celia wildflowers banksia australian-flora

The photographs show the Butter Factory at Orbost in 1892 and 1906. The postcard is addressed to Miss N. Cameron C/- Mrs H. Nixon of Picnic Point Bairnsdale. The Orbost Butter and Produce Co. Ltd was registered on June 1st 1893 and was an important source of income to the Orbost district. The first shipment in about 1893 to England went rank and was only good for axle grease on wagons and carts.The milk was brought to the factory by horse and dray.Most people would take the whey home for their pigs,which were abundant on the farms in the Orbost district. Mr John Gilbert is the man second from the left in 1250.1.Postcards form a vital part of social and historical records for researchers. These cards are photographs of the Orbost Butter Factory. The Orbost Butter and Produce Co. Ltd was registered on June 1st 1893 and was an important source of income to the Orbost district. Two photographs / postcards of the Orbost Butter Factory. 1250.1 is a a photograph of several horse-drawn wagons outside a large wooden building.There are several men on top of the wagons, seated and standing. 1250.2 is a postcard with a photograph of the butter factory taken from the north side showing the two storeys with a person standing at a door on each level. There are horse drawn carts behind a wooden fence and several men standing on the front verandah with one man at a top window. On the back of this postcard is a hand-written letter.1250.1 - on front - Orbost Butter Factory Ward Bros Sale 1250.2 - on front - Butter Factory Orbost on back - " 27/11/06 Dear Girls Yours to hand you should have had a letter from me yesterday. Glad you wrote to Miss Alexander. Hope ypou have a good time out there. ??? meeting a success, Mother"dairy-orbost orbost-butter-factory