Used by Mrs Jean Ashcroft (nee Broad) and probably worked by her. She came from Galashiels ScotlandIvory rectangular tray cloth with a knitted lace edge and drawn thread work and embroidery in ivory of four circles of flowersnonemanchester, table linen

Worked by Miss Lily Sebire about 1900.White tablecloth in Renaissance work, also known as point lace. Braid is stitched onto a calico pattern, then linked by needle and thread in a variety of designs.tablecloths, embroidery

William James Davey, B 1882, at Chewton, worked in Mine Office at the Great Southern until 1913Black and white photo of 3 men, 2 seated on chairs the other seated on a tableOn back of photo: "Photo on left, William James Davey, b 1882, at Chewton, worked in Mine Office at the Great Southern until 1913"gold, mine, employee, william james davey, great southern

This photograph is of a combined Sunday School group of children at the old showgrounds about 1905.Sunday School at that time involved a lot of commitment on the part of the teachers towards the children and this was reflected in the efforts they went to to make Sunday School an interesting and enjoyable event. Going to Sunday School was an important part of children's lives in the early 20th century in small towns such as Orbost. This item reflects the importance of Sunday Schools and the churches in Orbost in the early 20th century.A large soiled black / white photograph of many children sitting on bench seats, some standing in an outdoor area.on front - "Combined Sunday School Picnic - Old Show Grounds about 1905"orbost-churches orbost-sunday-school

Tennis days were always held at the tennis courts at Bete Bolong. Those in this photograph are: (L to R) Alan Richardson; Jack Irvine; Marion Nixon; Molly Thompson; Inez Pardew; Stacy and Cleve McKeon. This item is a pictorial representation of Orbost in the 1930s. It records a common recreational activity - the dress and social aspects of tennis at that time.A small black / white photograph of seven people sitting on a wooden bench. They are dressed in tennis outfits - probably white.on back - "Tennis at Bete Bolong" with a list of namessport-tennis bete-bolong recreation

Luna Park in St Kilda has been a popular tourist destination thoughout the times and Jack Kerr and friend visited the theme Park during a visit to Melbourne at some stage. At this stage it appears that a photographer studio was in place at the park. It was common for people to get photos done of their adventures to show friends and relatives and for a photographic memory.Shows the popular destinations during the time. Demonstrates typical dress in the period.Rectangular, Black & white. Jack Kerr & friend sitting on a bench seat both wearing hats, suits and ties.Back: In black ink stamped, Luna Park, St Kilda. Electric Studio M. D. True, Manager. Photos Finished while you wait. Day or Night. Written inpancil the word Kerr. park, jack, photography, st, kilda, luna, kerr

family portrait, male serviceman ( navy ? ) female and three children, all seated ( children on studio bench/table )Eden Stuidios, 727 George Street, Sydney embossed bottom centrecottage, miners

Hand operated metal apple coere & peeler with screw attachment for mounting on bench or table, black wooden handle.Little Star Patented June.9.85domestic equipment, food preparation, kitchen, k205

Mary Pauline Daly was a gracious benefactor of the Braille and Talking Book Library. Born in Chewton to Ellen Horan and Denis Daly, she passed away in Parkville and this photograph of her is in recognition for her generous gift to the library.Miss Mary Daly 1894-1987 who bequeathed her entire estate to Braille & Talking Book Librarybraille and talking book library, mary daly

2 copies black and white photograph. Group of students standing and seated on benches in the Gardens. Names written on reverse.Names written on reverse. Also, "Photograph by Information Branch Victorian Department Of Agriculture Ref. No. D.1012.C."student group diploma ll 1967, student group, diploma ii

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

Reproduction slide of a photograph of a cable tram, eastbound to Northcote in Bourke St during 1930s about to pass over track work under repairs. The woodblocks have been removed on either side of the track.Demonstrates tramway operations during trackwork - a flag can be seen on the left hand side of the photo.Kodachrome cardboard duplicate slide - Black and white - reproduction - Northcote cable tram track work - 1930s "CB13" in penciltrams, tramways, cable cars, cable trams, bourke street, trackwork

Lists the work carried out by the SEC on tram No. 24. Includes notes on the tram itself, body, brake gear, electrical, and truck. The tram was effectively written off in 1954 after running away and entering the Bucks Head Hotel - body sold in 1957.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 24

Mr Eric Sumsion was the gardening curator for Wodonga Shire in 1956. He had previously operated a bootmaker’s shop in High Street, Wodonga for many years. Eric saw the potential of the area in Wodonga now known as Belvoir Park and asked permission to work on part of the area. He eventually purchased a house adjoining the area giving him more time and easy access to work on it. The Lagoon, Lake Huon, Belvoir Lagoon, Belvoir Park and Sumsion Gardens are all names used over time for what is today one of Wodonga’s favourite recreation and picnic spots. In the 1800s river boats could enter Lake Huon from Wodonga Creek. There was a jetty south of where the water fountain is today. In later years, this jetty was used by the Clay Bird Shooting Club. From the early 1900s football and cricket were played there, and some mining leases were also allowed. At one time there were open gravel pits between House Creek and the main lagoon, and these were subsequently filled with town garbage collected by the Council. In the late 1940s, Wodonga Golf Club took over part of Belvoir Park for a 9-hole golf course with sand greens. The Golf Club House was built in 1946. The Club extended the course to 12-holes when the football ground moved to Martin Park and the course later extended to 18 holes. Under Eric Sumsion’s care the area became a magnificent area of parkland and curated gardens. After he had retired in 1961 his work was acknowledged by the Shire Engineer, Mr Bill Page, when the Sumsion Gardens were named in his honour. He was also responsible for the design and curating of many other gardens in Wodonga, including those at Sarah Coventry and Richardson Park. Eric Sumsion died in July 1988, aged 85.This item is significant because it acknowledges the dedication and commitment of Eric Sumsion to the Wodonga Community.A collection of photographic image and an advertisement related to the work of Eric Sumsion in Wodonga.eric sumsion, parks and gardens wodonga

Used by Mrs Jean Ashcroft (nee Broad) probably worked by her. She came from ScotlandFine white linen table runner embroidered in mauve silk flowers and cut work. Crocheted border 8 cm widenonemanchester, table linen

Studio Portrait of two children with bench seat and dog.stawell

The doiley was worked by Betty Harrison, wife of Don Harrison. It is a sample of cutwork embroidery. The doiley was worked and when finished the pattern was cut out, leaving the centre uncutThe doiley is a part of a handcraft kit sold by Fautleys fancy work shops, and Needlework shops. Needle work such as embroidery was a very popular social activity during that era.Unfinished piece of cutwork in shape of oblong doiley. Brown cotton thread has been worked to shape star-shaped flowers at each end as well as the bordersFautley's Linen-Weft 5 x 11 No. 1863handcrafts, embroidery

Photo shows Electric supply Co. toast rack or cross bench type No. 17 outside the depot prior to its coversion to the track cleaner in 1953. The Bendigo trust returned the tram to its toast rack or cross bench type.Yields information about Bendigo tram 17 prior to its conversion in 1953 to the track cleaner.Black and white photograph of Bendigo - tram 17 at depotOn rear in red pencil is "Dup JBS"tramways, trams, sec tramways, bendigo, tram 17, bendigo depot

History of Wandinong Sanctuary and its links to the deaths of Phyl Hooke and Margaret Layland.. Information about the Layland Family and the life and work of Phyl Hooke.History of wandinong Sanctuary and its links to the deaths of Phyl Hooke and Margaret Layland.wandinong sanctuary, hooke, phyl, layland family, layland, margaret, ellemor, bill

From the collection of Bette JonesA square mat scalloped at edge worked in cream and grey. Hardanger work.handcrafts, embroidery

Rectangular white cotton tray cloth. Cut work with worked edgetray cloths, household textiles

Weatherboard home no. 4 Skene Street. The main feature is the lace work along the veranda. There is a half circle of iron work centrally placed on the veranda roof. Black & white photograph of a weather board home with and iron roof at no. 4 Skene St Stawell. The building has a brick fence and balustrade with elaborate iron lace work.stawell dwelling

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport. Jack Van Berkle, Bill Rapsey, Vic Zeinert, Hec Lloyd relaxing outside of work hours.railways wodonga, fred rochow, wodonga railwaymen

The Argus reports that “In 1916 the members of the bar took the opportunity afforded by his [a’Beckett’s] 80th birthday, and the completion of 30 years on the bench to present to the judges of the Supreme Court, with his permission a portrait of himself, to be placed in line with portraits of other judges in the Supreme Court library. The portrait which depicts Sir Thomas a’Beckett in his robes, was an excellent piece of work of Mr Max Meldrum. The unveiling was made the occasion of a little demonstration at which some congratulatory speeches were made." Sir Thomas a'Beckett arrive in Melbourne as a teenager with his parents in 1851. His uncle was the former Chief Justice, his father a well known solicitor. At the Bar Sir Thomas mainly worked in the Equity jurisdiction, which he took as a specialisation with him to the bench. This is an early work of Meldrum, he won the Archibald prize for portraiture in 1939 and 1940.The portrait is of interest for whom it portrays and as the early work of a well known artist.A full length portrait in oils of Justice Sir Thomas a'Beckett. Sir Thomas is seated, his feet placed on a plush red foot stool. He is dressed in his red judicial robes with white fur trimming and black trousers and a full bottomed wing. Justice a’Beckett has a white beard and moustache, he was 80 years of age when this portrait was painted. In his hand he holds a rolled document. At his elbow, there are books upon a table. He sits in a fine carved wood and leather chair, in the background a gold frame is just visible. A line in the canvas indicates that the size of the painting was expanded. The frame is gold with a gum leaf motif.Max Meldrum 1916a beckett, max meldrum, judge

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.Bronze and gold embroidery and bead work on black mesh.needlework, beading, sewing, sew, hamilton-smith collection, hamilton-smith, ellwood, handmade, domestic, women, women's history

Used for bench use in factory. Part of Collins Bros collection.

Photograph of Meidcal Orderly Slim Wilson in flying ket and helmet standing next to a helicopter. Leading Aircraftman R (Slim) Wilson a medical orderly with No:1 OSU checks his equipment before a mission with 9 Sqn. Wilson was awarded a mention in despatches for his work with 9 SquandronLeading Aircraftman R (Slim) Wilson a medical orderly with No:1 Operation Support Unit checks his equipment before a mission with 9 Squadron. Wilson was awarded a mention in despatches for his work with 9 Squandronphotograph, 9 squadron raaf, medical