This pant suit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with Darren, Jenny and their three children. Stell-Ricks was the label of Melbourne fashion designer Stella Dare.Pant suit comprising tunic (.1) and flared pants (.2) made from cream, yellow and gold lurex woven in a floral pattern. Tunic has a pair of non-functional pocket flaps at breast and two finctional pockets at front hip area. Tunic fastens with a centre back zip. Tunic lined with shell pink poyester satin; pants unlined.Label woven white on black acetate centre back tunic: Stell-Ricks / OF MELBOURNE / SUITS TOPCOATSpant suit, 1970s fashion, chevy chase, overend family, bernice overend, melbourne designers, stell-ricks, stella dare

Purchased from an opportunity shop, this dress is a stage costume bearing the label of Bonn & Mackenzie, a prominent UK costume designer from the 1950s to the 1970s. The dress appears to have been worn by June Bronhill (1929-2005), a prominent Australian opera singer and actress, whose name is handwritten on the label. Born June Mary Gough, she began using the stage name of Bronhill in 1952 in honour of her NSW home town of Broken Hill as a form of thanks to the local community who had helped raise money to send her overseas for professional training as a singer. Bronhill trained in London and gained early exposure with the English National Opera. She went on to star in many theatrical productions in Australia and the UK. She moved back to Australia permanently in 1976, and in 1980 was cast in her first television role as Mrs Crawford in the Australian version of 'Are You Being Served?'.Full-length short-sleeved dress of white cotton, lace and nylon, featuring elaborately ruffled sleeves and vertical stripes of lace on the skirt and bodice. The dress is open at the back, fastening with hooks and cotton ties to facilitate quick costume changes.Label, white cotton with red text: "BONN & MACKENZIE LTD. / TEMPLE BAR 1393". Handwritten underneath in black pen: "JUNE BRONHILL".june bronhill, bonn & mackenzie, theatre costume

This ladies suit belonged to an elderly neighbour of the donor, Margot Miller, who lived in Black Street, Brighton in the 1970s. The neighbour had offered Margot a selection of her old clothing, dating from the early 20th century, as she wanted somebody to hold onto and care for the items after she died. Before Margot could take the items the neighbour was moved into a nursing home and, while cleaning out the house, the woman's son took the clothing to the tip with a load of rubbish. Margot happened to see him leave and was able to follow him and retrieve the clothes. They remained in the Miller family for many years; some were worn by Margot's daughters and some were ultimately passed on to others. Based on our research, we believe that the suit's original owner may have been Julia Richards (nee O'Keefe, c. 1882-1976), who lived at 59 Black Street during this time. Born in Ireland, Julia emigrated to Queensland in 1900. She married William Alfred Richards in 1911 and lived with him in Ayr, near Townsville, where they ran a hotel. It is unclear what became of William, but by the mid-1920s Julia and her two children were living in Brighton, where she remained until her death in 1976, aged 94.Cream wool ladies suit consisting of a jacket and skirt. Jacket is partially lined with silk, quilted around shoulders. Fastens with four self-covered buttons, one attached to a belt. Two box pleats at front and back, each featuring four decorative self-covered buttons at the waist. Upturned cuffs, each with two buttons. The skirt features a fabric belt and triangular pockets in each side with decorative self-covered buttons. Hook fastenings at side.1910s, women's suit, julia richards

John EDYE (1944- ) John Edye trained in London at Harrow School of Art in the 1970s, and worked with Peter Dick in Yorkshire and Colin Pearson in Aylesford, Kent before returning to Australia to head the Sturt Pottery at Mittagong from 1974 to early 1978. At Sturt, his trainees included Piers Laverty, Wim Boot, Will Castle, Ruth Elder, Colin McNeill, Penelope Carr, Patrick Forman and Malcolm Campbell. Edye introduced them to salt-glazing, a technique at that time not widely used by studio potters. After leaving Sturt, he established the Little Forest Pottery at Yerrinbool in the Southern Highlands of NSW with Penelope Carr, who moved to Hazelbrook to set up her own pottery in 1983. Edye ran his pottery on a production scale for many years, making reduced and salt glazed stoneware and tutoring part time at East Sydney Technical College. Recently he has been working in Egypt as a technical advisor to an aid project, and he was a speaker at the Australian Ceramics Triennale 09. His works are marked with an impressed 'JE' and/or with the three-lobed tree emblem of Little Forest Pottery. John Edye was a visiting lecturer to the Gippsland Centre of Arts and Design (GCAD).Salt Glazed BowlTwo Stamps on basejohn edye, ceramics, jan feder memorial ceramics collection, gippsland

Manufactured in the 1960s, this mobile emergency telephone exchange was fitted into a caravan. Part of the Shepparton Division State Disaster Plan, the caravan could be towed to areas affected by disasters to enable communications to recommence. The caravan remained in service until approximately 1974.Mobile infrastructure plays an important role in Australian communications, owing to the often remote and hostile environments in which Australians live and work. Exchanges such as this facilitated phone calls in the aftermath of an emergency, particularly for hospitals, police and other emergency services. Today, Mobile Exchange on Wheels (MEOWs), Cell on Wheels (CoW) and Satellite Cell on Wheels (SatCOW) - which provide temporary landline and broadband services, mobile phone coverage and service in areas without communications infrastructure respectively - are a critical part of emergency response procedures for natural disasters such as fire and flood. Though technology has progressed, the need for rapid service in remote areas remains a present concern of the communications service providers in Australia. This mobile service infrastructure is historically significant as an early example of a service which has evolved over decades, yet is still needed today. The exchange, as a representative example of a vehicle which would provide early-response in a disaster, is socially significant as a facilitator of critical communications needs in devastated communities: access to emergency services and contact with family and friends. The exchange itself, intact from its period of use, provides an insight into technology of the 1970s.Mobile emergency exchange housed in a caravan trailer on 2 wheel base, duralin body, steel tow bar, Caravan divided into 3 sections; the exchange room; the relay room and the main frame room. The exchange room contains 3 switchboards, a folding table, cupboards, benches and switch rack (.1). table (.2), steel bar for attaching the table (.3), back boards of switchboards (.4-.6), switches (.7-.16), box of switches (.17). There is a wall phone magneto, 300 type handset on wall and 2 skylights with wire screens. .11? hat pegs and shelf; there are 2 fluorescent tubes for lighting, all in exchange section. The floor is covered with 2 tone grey tiles and there are wire mesh on outside of windows and a geometric curtain inside behind switch rack. There is a flywire screen door as well as exterior door. The relay room has a sectioned door so half can open at a time. Room contains a cupboard with folding bench top beneath a curtained window. The opposite wall has a bank of batteries and transmission condensers; there is a shelf above window, one fluorescent tube and fuse boxes. Tiles on floor also. The main frame room contains many metres of coiled black covered cable, a black covered magneto wall telephone with 300 type handset; grey plastic jumper cords, a rack of termination points and wire with wasp nests attached. There is a small iron step under door, a fluorescent tube on wall and 3 hat hooks. Roll of Paper Handtowels (.18), cord and handle (.19), red exchange cords and plugs (.20-.22), plastic aluminium runners (.23,.24), headset (.25,.26), logbook (.27), battery readings (.28), box containing papers circuit drawings etc (.29-.93), paper lists off wall (.94,.95). Books, record books etc (.96-.103). Manila folder (.104) containing circuit drawings (105-.124). Wooden drawer (.125), metal drawer containing subscribers master cards, record of faults cards, particular switchboards connected, Junction line cards (.126). Box of valves (.127), box of clamps (.128). Box of 2000 type rack fuses, red 1 1/2 AMPS, black 3 AMP, blue 1/2 AMP (.129). Box of sleeves for covering wire joints (.130), plastic beakers (.131,.132), soap (.133), box of white plastic squares (.134), time switch "Venner BF/43 time switch" Made in England (.135), box of bolts, knobs etc (.136), box of switchboard number indicators (.137), fuse (.138), fuse wire (.139), football card (.140). Box of cartridge fuse 6 AMP (.141). Envelope of drawing pins, rubber bands (.142), black plastic, paper tape centres (.143-.152), metal plug (.153), 2 signs "Beware of vehicles" (.154-.155). Paper listing Naringal East automatic conversion (.156). Green Commonwealth of Australia note pad (.157). Wiring plug for tail lights (.158). Black fuse plugs (.159,.160). Box of bolts (.161). 2 sections of blue plastic coated wires (.162,.163). Gloves used for working on batteries (.164-.167). Wasp nests (.168,.169). White fuse (.170). Photographs of van in use (.171,.172)..1 on front: "ANOTHER / MOBILETRAIL / PRODUCT" "MAX SPEED / 25MPH" "TRAILER BRAKES / --- / " On sides: "EMERGENCY TELEPHONE EXCHANGE" "NO 1" "PMG" "TCQ / GROSS 250 / TARE 182 / LOAD 162" "6" "COUNTRY BRANCH / NORTH REGION / [SHEPPARTON DIVISION]" "LAW'S SIGNS" "Telecom Australia" On back: "DANGER / LONG LOAD" "MQA 3787" .133: "FIR OIL" "AUSTRALIA"mobile telephone exchanges, mobile telecommunications trailers, trailers, transport, natural disaster, black saturday, bushfires, floods, emergency communications

The donor George Lister Coop was about 21 years of age when he took this photo. It is one of a small series of photos donated by him that relate to Mont Albert and Surrey Hills stations. He has always had an interest in railways and there are other examples of his documentation of railway history in other collections contributing to this database. R J Mercer was the butcher at 112 Union Road. This property has a long history of being a butcher's shop beginning from c1904. He took over from Edward Lloyd in 1951. Spotless Dry Cleaners were at 104 Union Road.This is an important photo as there are few known colour images of the station prior to the installation of the third line in the early 1970s, which resulted in the demolition of the station built in 1883. It is also significant as a record of the housing along the south side of Stirling Crescent which was later replaced by light industry.A digital colour photo of Surrey Hills railway station taken from the overhead pedestrian footbridge looking towards Canterbury. Both tracks and the verandas on either side of the line can be seen, as can the railway gates in the open position and the signal box, beside which is a large palm tree. A section of red goods vans are positioned in the adjacent goods yard. Some of the businesses and advertising hoardings in Union Road can be seen in the background. These include A Doubleday (real estate agents), R J Mer..., grocer, baker, Spotless Dry Cleaning, Robur tea and Lipton tea (part of only). A number of the Edwardian houses along the south side of Stirling Crescent are also seen.george l coop, surrey hills railway station, goods yard, real estate agent, a doubleday, grocer, baker, union road, stirling crescent, spotless dry cleaning, r j mercer, butcher

David FERRY (1957- ) Born in Blackpool, United Kingdom. David Ferry studied painting at the Camberwell Schools of Art and printmaking at the Slade School of Fine Art in London. He is currently Professor of Printmaking and Book Arts at the Cardiff School of Art, Cardiff Metropolitan University,Wales. He was Former Associate Professor of Fine Art Media, at the Long Island University, New York, USA, and former Head of Printmaking at the Winchester School of Art, UK. David Ferry was awarded a Fellowship of The Royal Society of Arts for his contribution in the foundation of the Curwen Print Study Centre in Cambridge where he became its first Artistic Director in 2003. In 2010 he was made Professor of Printmaking at the Cardiff School of Art and Design, and a full Fellow of the Royal Society of Painter / Printmakers (RE).Framed screenprint which forms part of a series called ‘Cake walking in Scotland’ which was printed 2015/16. It is a Digital Archive print with gold and silver leaf and glitter and varnish. "Upon entering a strange place, the visitor is disorientated. He looks for key markers that can act as signposts to help him find his way. These markers are taken from his past experiences, giving shape to his perceptions.’…’ Ferry was born in the seaside town of Blackpool and educated at London art colleges during the late 1970s at the height of British Punk. These early foundations continue to assert themselves in the mischievous and disruptive nature of his photomontage. He argues that early understandings of oneself, along with the characters and situations one encounters, shape our viewpoint. These act as familiar signposts that enable us to negotiate our understanding of the world. Employing what he refers to as a collage mentality, Ferry collides and layers fragments to explore his subjects.’ Writes Stephen Clarke on David Ferry’s work in ‘The Double Negative’. (htt05 April 2019)ps://www.roeandmoore.com/shop/the-corrie-by-david-ferry/, accessed One of an edition of 12.david ferry, printmaking, artist in residence, screenprint, art, artwork

MEYER COLLECTION - FALLS CREEK PHOTOS In 1947 a determined group of like-minded State Electricity Commission (SEC) staff including Ray Meyer, the chief surveyor of the Kiewa Hydro-Electric Scheme, had a common interest that revolved around the skiing potential of the snow-covered high plains which included what is now the resort of Falls Creek. The six SEC employees, Toni St Elmo, Ray Meyer, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson (together with their families) banded together to secretly build a 'hut' that was the first ski lodge at Falls Creek. Using a road built in 1930s to gain access to Falls Creek, their hut project was carried out in secret as efforts by other skiers were blocked by H.H.C. Williams – the engineer in charge of the Hydro Scheme. In 1946 Ray Meyer made a trip to the Lands Office in Melbourne. He came away with a 99-year lease on three acres that was ideally suited for a hut designed by Lloyd Dunn. Adrian Ruffenacht (Design Engineer for the KHS) had suggested where the group should build because of easy access to a spring for water. Much of the building material required was scavenged from derelict huts on the high plains. Due to the need for secrecy, the determined group worked on the hut in the evenings and weekends to avoid detection. During the building period the group had met at Echidna Rock (now known as Eagle Rock) where Skippy St Elmo announced, "This is my favourite ‘Skyline’.” And so the first lodge in the area at Falls Creek Ski Resort came into existence. With the development of the International Poma in the 1970s, the Skyline Lodge, which was sited between the ski-lift’s pole one and pole two, was demolished. However, the legacy of Ray Meyer, Toni St Elmo, Jack Minogue, Lloyd Dunn, Adrian Ruffenacht and Dave Gibson and Skyline lives on in the vibrant atmosphere of Falls Creek Resort. The MEYER COLLECTION documents developments on the Kiewa Hydro Scheme and their life at Falls Creek from the mid 1930s to 1960s.This image is significant because it documents life in the early years of development of the Bogong High Plains, Victoria.A black and white image of pupils and teacher at Bogong School. Teacher Beverley Hayward. This photo is a newspaper photo published in a Melbourne newspaper at the time (c1949). John Meyer is child third to the right of the teacher.bogong primary school, john meyer

These clamps were invented by Egil E Hyggen in 1968, for which he was awarded a major design prize in Norway. According to the company which manufactured them, Christiana Spigerverk, they ended production in the mid 1980s but were available in many countries for much longer.This item is significant because it shows how snow driving safety has evolved over time.A set of Norwegian manufactured wheel clamps for safe driving in snow and icy conditions. They are displayed with a poster explaining application.wheel clamps, snow driving safety, snow grips, snow chains and safety 1970s

Cream pith helmets were part of the uniform worn by Melbourne District Nursing Society (MDNS) Trained nurses (Nurses) from the early 1900s when giving nursing care to the sick poor of Melbourne. When riding their bicycles the helmet was held on by a long white scarf tied under the Nurse's chin. From its earliest years when Melbourne District Nursing Society (MDNS) Trained nurses, known as 'Nurse' in those days, began to wear uniforms the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. The Nurses firstly wore long grey frocks and a white cap with a long white tail hanging from the centre back. When bicycles were introduced in 1903 the headgear changed to a cream pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. The Nurses complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. In 1966 MDNS were granted Royal patronage. Now as Royal District Nursing Service (RDNS), the uniform was redesigned and colour changed in 1971. By 1972 the Sisters were wearing the new winter uniform of a blue/grey skivvie under a V neck tunic style frock made of blue/grey herringbone winter material with the RDNS insignia on the upper left, and a beret of the same material. In summer the uniform became a royal blue V neck tunic style frock, with the RDNS insignia on the upper left, worn over a short sleeve white blouse. A royal blue peaked hat with the RDNS insignia in the centre front was worn at first and then only worn on official occasions. This uniform was worn until changed to a corporate style in the mid 1980s,This hard cream coloured pith helmet has a 'pudding basin' shaped crown with 2 eyelets on both sides of it and a raised 'button' in the centre of the crown. This is encircled by a slightly sloping brim. A red cotton Maltese cross is emblazoned in the centre. The crown has a 66 cm circumference and is 12 cm deep; the raised central button is 3.5 cm x 3 cm; and the brim has a 101 cm circumference and is 5 cm deep.melbourne district nursing society, mdns, mdns uniforms, rdns, royal district nursing service

The rectangular weight is rectangular in shape and made of concrete and metal. A closed metal hook is attached to the concrete block, which is encased in metal, and a section of rope is attached. It was used as a counter weight on a canopy that operated as part of a winch located at the [east] landing deck … Originally there were four weights that formed part of a fibreglass canopy which consisted of a staunch, pulley and a rope so when you lifted the canopy up, the weights on either side countered the weight so objects could be moved. The weights were installed in the 1970s and were dismantled along with the winch in the following decade.The weight has first level contributory significance for its provenance and historical value as a component of an earlier apparatus that was used for hoisting goods at the lightstation sea landing.2 x Rectangular shaped weight with with closed hook embedded in concrete surrounded by metal. A section of rope is attached to the hook.

The items include a wooden ruler, masonite and metal clipboard, metal stapler and desk calendar holder made of metal, date from the 1970s. Three clear glass ink bottles and a black Bakelite fountain pen with screw on top are a little earlier in date, and all appear to have a reliable provenance to the lightstation. They have second level significance as small items of office equipment used in the day-to-day running of the lightstation. Maintaining the lightstation – equipment (themes 2, 3, 5) This sub-collection of workplace objects under the main theme of ‘Running the Lightstation’, includes the equipment used for and maintaining the lightstation. All have second level contributory significance for the insights they provide into the types of appliances needed to keep the lightstation running and functioning as a navigation aid.Metal clipboard, wooden ruler, metal stapler metal calendar /date holder.

A blank example of Melbourne Legacy letterhead from 1970. The phone number was changed to 663 3564 from 32 3564 and from it's earlier format of FB 3564. Was part of a folio of proforma stationery from the 1960s. A similar set of proformas are at 00338.A record of forms and items used in Legacy's business practices in the 1960s and 1970s.White Melbourne Legacy letterhead with black and white photos and the Torch on orange background, pasted on brown paper from a folio of forms and brochures from the 1960s.proformas, stationery, forms

An example of a Melbourne Legacy Widow's Badge from the 1970s. These were worn by widows to identify themselves at events. It is an earlier example of the badge than the lapel pin at 01701. Donated by the family of Jean Cohen, along with a second badge of slightly different dimensions. Jean was the widow of Flight Lieutenant Henry Cohen who served in WW2 and he passed away in 1970s. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them.A record of the badge given to widows when they join Legacy.Gold brooch of the Legacy torch with red enamel containing the words Melbourne Legacy Widow mounted on a 4mm wide gold bar with a brooch pin.Imprinted with 'Stokes' on reverse.widows, membership

An example of a Melbourne Legacy Widow's Badge from the 1970s. These were worn by widows to identify themselves at events. It is an earlier example of the badge than the lapel pin at 01701. Donated by the family of Jean Cohen, along with a second badge of slightly different dimensions. Jean was the widow of Flight Lieutenant Henry Cohen who served in WW2 and he passed away in 1970s. The badge of Legacy is the Torch and Wreath of Laurel. The Torch signifies the undying flame of service and sacrifice of those who gave their lives for their country. The Wreath of Laurel is the symbol of our remembrance of them.A record of the badge given to widows when they join Legacy.Gold brooch of the Legacy torch with red enamel containing the words Melbourne Legacy Widow mounted on a 3mm wide, slightly tapered gold bar with a brooch pin.widows, membership

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.Buildings in High Street just south of the intersection with South Street, Wodonga. Businesses including Chitty's Antiques, Hoover City Chinese Restaurant, Phegan Real Estate and Jay Dean Construction. Between Hoover City and Phegan's was Number 90 High Street. Harris Lieberman Solicitors was at that location in the mid 1970s. In 2021, a hairdresser operates out of the former Phegan's store and Hoover City is the location of Rock 'n' Roll Roasts. Chitty's Antiques occupied part of the former Bank of N.S.W. premises. It later became The Secret Cup coffee shop which has since closed.wodonga businesses, high st wodonga, chitty antiques, phegan real estate, hoover city chinese restaurant

The Wodonga Hotel was constructed in 1940 at a cost of £10,000. It is now called Elgins Hotel. It was established after the transfer of the licence from the Halfway Hotel. This was the result of a lengthy hearing before the Licensing Board over two days in December 1939, There was some opposition from established guest house keepers and hotelkeepers. G. A. Adams, owner of the Carriers’ Arms Hotel was refused a hearing as he was not a resident, so Rachael Spence his manageress objected on the ground that it would do her hotel a lot of harm. Mr Luke Murphy represented the applicants, Irene Weatherall and Lena Pickering. He stated that the new structure would be of brick, cement and iron and contain 22 rooms. The site was near the municipal sale yard and near the railway station, and, he pointed out the trucking industry, which he believed to be larger than any other in Victoria, outside of Melbourne. The hearing was told of the bad state of the Half Way Hotel, having been there for almost 100 years. Luke Murphy was quoted as saying “If Hovell were here he could give evidence on that.” The lack of accommodation and quality accommodation at Wodonga hotels was frequently heard of. Costa’s Wine Café had very excellent accommodation for but only five or six people. The lessee of the-tea rooms at the municipal saleyards, also gave evidence. Mrs Lowden said that on sale day she served up to 130 dinners in addition to 10 or 20 breakfasts, and almost continuous light lunches. She did not think a hotel would provide a needed facility for patrons of the saleyards. In April 1940 the application was granted on the condition that premises were erected within 42 weeks. The hotel was used for soldier accommodation during World War II and experienced a boom period when Wodonga saleyards were located across the road. Irene House behind the pub also was constructed in the 1970s when Albury-Wodonga had been identified as a National Growth Centre by the Whitlam Labor government. After running the hotel for 5 generations, the Weatherall Family sold the business in 2021.These images represent an early business in Wodonga . 2 photos of the Wodonga Hotel and 1 newspaper advertisementwodonga businesses, a. e. costa, wodonga pioneers, early wodonga businesses, wodonga businesses high street

Spiral boundnon-fictionA history of Baranduda in Northeast Victoria. Baranduda is a rural area and, since the 1970s, a rural and residential locality formed under the authority of the Albury Wodonga Development Corporation. It is near the junction of Yackandandah Road and the Kiewa Valley Highway, 10 km south-east of Wodonga. This publication traces the history of the area from its earliest know indigenous inhabitants, through the days of the earlier establishment of pastoral runs to more recent developments.baranduda, pioneers victoria, huon family, wodonga pioneers

This photograph shows the Protestant Hall on Nepean Highway Cheltenham, which at the time of the photograph was used by the Returned Sailors' Soldiers' and Aimen's Imperial Leage of Australia (RSSAILA). The building facade, World War I memorials, fire station building and road plantation are also in view. The Protestants Hall was built by the Cheltenham Protestant Hall Company Limited in 1886. The hall has been used for a wide variety of purposes; in earlier times it served as the Sunday School for the Methodist Home for Children, and later as a schoolhouse when the Beaumaris School (now Cheltenham State School) No 84 met with overcrowding problems. It was also a popular venue for annual balls and regular dances held by church groups and sporting organisations. The City of Moorabbin purchased the building in the 1920's for use by the Returned Soldiers and Sailors League, in whose hands it remained until the late 1970s when it was taken over by a catering firm. During the 1920s, and right up to the late 1950s, it also served as Cheltenham's picture theatre. The three memorial columns, one from the South African War, one from World War I and one from World War II previously located in front of the hall were relocated when Nepean Highway was widened. The Protestant Hall still stands at 1261 Nepean Highway CheltenhamBlack and white digital image depicting three buildings. The right hand building bears a sign that reads RSSAILA. There are trees and a bench seat in the foreground. There is a World War I memorial pictured. world war i, world war ii, protestant hall, cheltenham, returned sailors' soldiers' and aimen's imperial leage of australia (rssaila), returned and service's league (rsl)

A letter from the M.B. Ryan, Deputy Commissioner of Department of Repatriation about a meeting with Legatee Frank Doolan in November 1925. They had met to discuss Legacy wishing to cooperate with the department in the administration of its Scheme for the Education of the Children of Deceased and Totally Permanently Incapacitated Soldiers. He goes on to outlines ways Legacy can help and details of the scheme. The notation H48 in blue pen shows that it was part of the archive project that was trying to capture the history of Legacy. L/ Frank Doolan was part of the archive project around the 1970s.A record of Legacy working with the Department of Repatriation from very early in its history to aid the education of children of deceased servicemen. File copy of a foolscap letter x 3 pages dated 12 November 1925.Handwritten H48 in blue pen.history, founding legatee

The dinner took place at the Town Hall, Melbourne, and was attended by the Governor, Sir Rohan Delacombe, the Hon. Don Chipp, M.P., the Premier of Victoria, Sir Henry Bolt, and the Lord Archbishop of Melbourne, The Most Reverend F. Woods. The insert has information for guests and is indicative of traffic movement on Swanston Street at the time. The document was found with other papers of President D.J. Simonson who would have been one of the guests since it took place during his presidency. The signatures on the back have not been identified.Part of the social history of the early 1970s and an indication of the activities of Melbourne Legacy presidents.Cream coloured menu card, black and gold printing and insert paper black on white.Signed in blue pen by some of the people attending the dinner.legatee event, function

A set of notes compiled by L/ Frank Doolan about the Intermediate Legacy Club (ILC). He spoke at the 1974 reunion and perhaps these notes formed part of his speech. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together. Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. A record of the activities of the ILC from the point of view of L/ Frank Doolan who was on the archive committee in the 1970s and started collecting historical information.White note paper of various sizes handwritten by L/ Frank Doolan about the ILC.Handwritten in red pen ILC18 which was part of an early archive project numbering system. Stamped with 'Frank J Doolan' and his address in grey ink.ilc, junior legatee

Two documents compiled by L/ Frank Doolan about the Intermediate Legacy Club (ILC). One is dated 15 February 1947 and examines the options for the ILC future, written by Graham Billiet. The other is a confidential proposal by an unknown person that the ILC could change focus and establish a Country Club Ranch. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together. Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. A record of the activities of the ILC and discussion of it's future. The documents were collected by L/ Frank Doolan, who was on the archive committee in the 1970s and started collecting historical information.White foolscap paper x 4 pages, with black type about the ILC, they were paper clipped to items labelled ILC18 in red pen.Handwritten in red pen ILC18 which was part of an early archive project numbering system. 01637.1 Handwritten in pencil 'Legatee Doolan'. (3 pages) 01637.2 Handwritten in blue ink 'Norm - Confidential' (1 page)ilc, junior legatee

A one page typed summary of the ILC concerning members. It was clipped to other documents compiled by L/ Frank Doolan about the Intermediate Legacy Club (ILC). It mentions that the main assistance ILC was providing to Legacy was, through the Housing and Accomodation, the Firewood and Christmas Party committees. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together. Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. A record of the activities of the ILC. The documents were collected by L/ Frank Doolan, who was on the archive committee in the 1970s and started collecting historical information.White quarto paper with black type about the ILC, it was paper clipped to items labelled ILC18 in red pen.Handwritten in red pen ILC18 which was part of an early archive project numbering system.ilc, junior legatee

Vanity mirrors have been used for centuries as a common bathroom item. They can be large framed mirrors with ornately decorated frames or small pocket sized ones to assist in personal grooming on the go. Magnification of the mirror on one side enabled easier application of makeup. Mirrors such as this one became popular in the 1970s. This item is representative of women's accessories in the early years of the Twentieth century.A two-sided vanity mirror on a swivel stand. One side is a magnifying mirror. The mirrors are mounted in a silver alloy frame and a porcelain base. The base includes to recesses for storing small items featuring a floral design and silver edging.vanity mirror, women's accessories

Timetable board for Camberwell Junction Batman Ave route 70, detailing times that services were scheduled to depart the Junction. Probably used until replaced by The Met style signs in the mid-1980s.Demonstrates a timetable board style used by the MMTB in the 1970s and early 1980s.Board made up to display tramway timetables for attachment to a post comprising heavy galvanised steel backing sheet with two small channels either end, spot welded to the steel back, front painted in green with the letters "M&M.T.B" in yellow paint, perspex sheet at the front, secured by 6 Allen screws with nuts on rear, containing a typed timetable sheet - for Camberwell Junction for Batman Ave timetable - undated. tramways, map, batman ave, camberwell junction, route 70, timetable

Coleman, originally known for making lanterns, made over 30 different models of irons from 1929 to 1948. They generally came in an enamel coloured finish. The best known and most commonly found today is the “Cool Blue” enamel Coleman’s 4A gasoline iron. The Coleman 4A gasoline iron was much lighter than the previous ‘sad irons’ and no longer required to be heated on the stove or by charcoal. Instead, the pump was used to build up pressure in the fuel tank and a match was lit underneath the iron, making a flame inside the iron that would distribute the heat on the surface. Despite these benefits, fuels irons made ironing a potentially dangerous job. They had a very real possibility of causing a fire or exploding. Gas-pressure irons, that had been manufactured as early as 1900, were eventually replaced by electric-powered steam irons, in the 1970s as an affordable and safer alternative.This item is significant because it is an example of domestic appliances used widely throughout the Wodonga District.A self-heating iron which made from metal and enamel plate which included a small tank for fuel which powered the unit. A small wooden pump was used to build up pressure in the iron’s fuel tank. It has a wooden handle.domestic appliances, coleman fuel irons

Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait