Set of two photos of the interiors of two different types of Birney trams in Bendigo. 1 - Bendigo 15, longitudinal seating and the drivers cabin. Also shows the tramway control equipment that was located under the seats. Photo - Keith Kings No. D(i)(4), dated 10/4/1950 2 - Bendigo 29 with tip over seating, the open driver's position and night curtain. Photo - Keith Kings No. D(i)(3), dated 10/4/1950.Yields information about the interior seating arrangments of Birney type tramcars.Set of two black and white photographs of the interior of Bendigo Birney trams.Details the image on the rear of the print in ink.birney tramcars, bendigo, tramcars, interiors, tram 15, tram 29

In a letter accompanying the donation, the donor writes "I am enclosing a photograph ... I have now established that Emma Murray has a daughter Alma who was also a librarian and probably took the photo."A rare image of the Kew Library in Walpole Street after it had been renovated. The Library was situated beside the Town Hall.Black and white print made from an original in the possession of the donorOn reverse of original: "5/4/49, MIRI DICKINSON, MARIE DICKENS, BERYL OAKES AT KEW LIBRARYmunicipal libraries - kew, kew municipal library - walpole street *(kew)

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The donor, a resident of Kew, provided a handwritten provenance with the donation. "This is an heirloom dress, worn in Tasmania by a Fletcher relative c. 1860s, 1870s. It was for years, with another in the Queen Victoria Museum and Art Gallery, then borrowed for concerts. In (the) 1990s it was enlarged at the back for a Centenary reenactment. I thought you might like it for your collection."19th century white cotton day dress, photographed as accessioned, which is printed with a design in black. The front has a 3/4 length buttoned opening. The dress has wide ruffles in the same fabric at the base of the skirt. The later 1990s inserts which can be seen in the first and third images have been removed in preparation for the dress to be restored. The buttons are a later addition. Historically appropriate replacement buttons were later added.women's clothing, day dresses, australian fashion - 1870s, coralie coulston

The "Q" Theatre Guild was formed out of the Kew Light Opera Company in 1957. It marked the transition of the company that had initially been directed by Lance Nicholls to one directed by Beatrice Oakley. It continued to perform in the Kew Recreation Hall, but, with its demolition in 1960, and the opening of the new Kew City Hall in Cotham Road, moved its productions to that venue. Productions of the "Q" Theatre Guild included The Geisha (1957), Maritana (1958), They All Do It (1959), Blossom Time (1959), Love's A Luxury (1959), There And Back & The Bohemian Girl (1960), Die Fledermaus (1960), Gay Rosalinda (1961), The Land Of Smiles (1961), Kisses For A Kid & Hansel And Gretel (1961), Die Fledermaus (1962), Monsieur Beaucaire (1964), Macbeath or The Beggar's Opera, and So To Bed.The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of performers in Vincent Wallace's opera Maritana. The performance was produced by Beatrice Oakley for The "Q" Theatre Guild in 1958. Music was provided by the Kew Philharmonic Society conducted by John Trotter. Marion Tilley, the creator of the scrapbook in which the photo is pasted is given credit for designing and making the costumes. Set design was by R. Jewell. An annotation underneath the photo identifies two of the leads: Carla Jeffries and Alan Wilson. The photograph was taken on the night of 21 or 27 June when Jeffries performed the title role, a role she shared with Val Breen. Stan Wilson played Don Jose on these same nights.Marion Tilley, the creator of the scrapbook, wrote the following underneath the photograph: "Carla Jeffries, Stan Wilson - I made the men's and women's costumes including hats".performing arts -- kew (vic.), scrapbooks, marion tilley collection, 'q' theatre guild, kew recreation hall, musical comedy -- melbourne -- victoria

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A small circular pressed metal badge with a white outline of Australia against a dark blue background. Flags of Australia’s World War I allies are depicted within the Australian outline, including that of Imperial Russia."Allies For Freedom and Life"patriotic buttons, first world war (1914-18)

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.World War I-era pressed metal fundraising badge, featuring an olive wreath encircling in red text: ‘ANZAC Apr. 25. 1915’, on a white background. "ANZAC Apr. 25. 1915 / Copyright"anzac day, first world war (1914-18), patriotic buttons, world war one, numismatics, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.World War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blue."French Red Cross"first world war (1914-18)

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Small circular pressed tinplate button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the map."I Will Help Until the War is Won"patriotic buttons, first world war (1914-18), badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.‘Our Sailors Day’ buttons were sold to the public to raise money and support Australia’s soldiers and its allies in World War I. The design features the White Ensign (the ensign of the British Royal Navy and also used by the Royal Australian Navy until 1967) on a blue background within a life preserver."Our Sailors Day"our sailors day, patriotic buttons, first world war (1914-18), badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.This round ‘Wattle Day’ button is edged with a green and yellow wattle design. It is inscribed with white capital latters on a blue background in the centre. The first ‘national’ Wattle Day was celebrated in Sydney, Melbourne and Adelaide on 1 September 1910. Public support for Wattle Day peaked during World War I, when it was a potent symbol of home for military personnel serving overseas, and a means of raising money for organisations such as the Red Cross."Wattle Day"wattle day, patriotic buttons, first world war (1914-18)

Arthur Henry Miers, pictured in the photograph played for cricket, football and baseball teams in Kew for a number of decades in the first half of the twentieth century. He was born on 22 November 1901, the son of Rodolph Theophilus Miers (1874-1951) and Margaret Frances (Margaretta) Fry (1875-1958). He had two brothers, Rodolph Cecil Miers (1904-80) and Charles Wilfred Miers (1906-88), and a sister Marjorie Elizabeth Miers (1911-84). Arthur Miers died in Kew on 25 January 1966, and after his body was cremated, his body was interred in the Mausoleum of Boroondara General (Kew) Cemetery.Rare early photograph of the Victorian Junior Cricket Union premiership team of 1931Team photograph, mounted on card, of the Victorian Junior Cricket Union, Eastern Suburbs Premiers Season 1931.VICTORIAN JUNIOR CRICKET UNION / OPEN AGE INTER-ASSOCIATION COMPETITION / EASTERN SUBURBS PREMIERS SEASON 1931 / BACK ROW - W EWENSON; C W MIERS, B B NICHOLSON / CENTRE ROW - L JUDD; L LITTLEFIELD; W GREENWOOD; V GREAVES; A HARDY; H COOK / FRONT ROW - W H JENKINS (PRES,); S DALEY; A MIERS (VICE-CAPT.); C R STOCKS (CAPT.); E TONKIN; A M WILSON; J C WHITE (HON.GEN.SEC.) / GLEN STUDIOS, CARNEGIE Reverse: MR A MIERS, AS VICE CAPTAIN OF THE SUCCESSFUL TEAM, I EXTEND TO YOU MY HEARTIEST CONGRATULATIONS ON YOUR SUCCESS. W H JENKINS 12/5/1931arthur miers, cricket, cricket teams, victorian junior cricket union

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.Small, black and white photo of a double-fronted weatherboard house in Gladstone Street, Kew."Gladstonville. Built 1904 / 7 / Photo 1960 / I was born there 1905"gladstonville, houses - gladstone street -- kew (vic.)

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.Small, black and white photo of 57 Malmsbury Street, Kew. Originally the home of the grandparents of the historian Dorothy Rogers, it was later known as Fairyland when owned by Jim and Grace Tabulo."Fairyland Cottage. Built c.1860. This was grandma's home in 1866. Mother and father were married in the right hand room in 1884 by Martin Hosking (see marriage lines). / I would like this in my family story."fairyland -- 57 malmsbury street -- kew (vic.), weatherboard cottages -- kew (vic), houses -- malmsbury street -- kew (vic)

Large white ceramic washing set, jug and basin. Decorated with gold around rims, blue over embossed floral motif for 10cm below rims. Bowl painted with green leaves and pink flower stretching almost from one side to the other. Jug has decorative handle, with small green motif inside rim, large floral image painted on front in same style.Wessel Bonn, Frieda' embossed on base of jug, '6071 (a)' hand painted on base of both items in brown ink. '(I)' embossed on both bases.domestic items, ablutions, washing, basin, jug, ceramics, set

The Adult Deaf and Dumb Society of Victoria, now known as Vicdeaf, (the Victorian Deaf Society), was founded in 1884 as the Victorian Society for Promoting the Spiritual and Temporal Welfare of the Adult Deaf and Dumb. The provisional committee being Mr W Bates, Mr J M Bruce, Mr J D Gowan, Mr Edwin Newbiggin, Mr C M Officer, M. L, A., and the Rev. W. Moss. The Adult Deaf and Dumb Mission's objects were: 1. To provide the means for religious worship and instruction for the adult deaf and dumb of Victoria 2. To visit the deaf and dumb in their homes, especially when sick or in distress 3. To assist the deaf and dumb of good character in obtaining suitable employment 4. To provide technical and other education for the adult and dumb 5. To give pecuniary assistance to adult deaf and dumb who are in needThe Annual Reports of the Adult Deaf and Dumb Society are historically significant providing insight into the history of the evolving Deaf Community in Victoria. They are a annual 'snapshot' of the year with references not only to the progress of the Society but also to the significant people and events within the Deaf Community.Pink Cover, Size 21.5Hx13.5W,20 pagesdr j. f. mackeddie, e. r. peacock, r. j. oehr, j. dudley, m. l. miller, john higgins, harold w. bickford, f. e. frewin, j. m. johnston, r. h. luff,w. a. paterson, h. a. sinclair, george vial, ernest j. d. abraham, r. dow, e. empson, d, hickey, mrs w. a. paterson, margaret gibson, lydia sanders, mrs e. johnson, mrs a. wilson, mab dow, j. craig, john cronin, alex williamson, adam c. muir, w. taylor, s. moss, m. g. b mortimer, blackburn, deaf workers club, ramblers club, j. johnston, lacrosse, cricket, a suthersland, w. a. paterson, n. amos, mrs abraham, douglas abraham, a. mclellan, w. b. anderson, c. graham, d. white, j. m. jjohnston, h. mckenzie, v. tyzzer, n. webb, j. williams, o. tyzzer, d. m. kilpatrick, n. amos, a. williams, g. newnham, i. kennedy, a. tyzzer, a. stewart, j. mclean, r. durham, n. ormsby, mrs goddard, c. smith, h. taggart, mr brett,

Published by the Deaf Committee of the Adult Deaf and Dumb Society of Victoria'The Victorian Deaf News' Newsletter is a significant publication as an historical record giving and insight into the people, activities and events of the Deaf Community in Victoria.Vol. 1 (New Series) January 1936; Size 24.5cmHx18.5cmW; 24 pagesedgar h. peacock, warwick ashby, rev j. h. frewin, theo frewin, fred frewin, freda connolly, iris connolly, lord mayor's queen carnival campaign, mrs abraham, alice graham, victorian deaf and dumb institution, jim johnston, douglas abraham, w. h. crush, henry w. gladwin, j. boortz, dorothy johnston, charlie buck, colin johns, w. mcmillin, h. r. gillet, i. boast, s. nielson, f. sandon, willie hately, joe unsworth, rivers, a. sutherland, m. reiffel, w. durston, j. boal, deaf tennis club, adult deaf cricket club, lacrosse, deaf chess, w. donnelly, willie smith, les sutton, lydia sanders, melby allsop, ruth peters, mortimer, e. r. e. noble, c. graham, l. smiththelma whateley, thomas newton, roy white, mra and mrs white, h. blackmore, e. raines, elsie denman, g. mccaffrey, ethel dow, james frame, muriel smith, ray cornell, w. grant, john mcgonigal, thomas tonkin, john cardwell, william kent, richard hann, annie secombe, winnie henry, g.g. mercy,

Hyams, Frederick. Pte 17982 4th F.TroopWorld War I Red Cross fund-raising badge. According to contemporary newspaper articles the Commonwealth Button Fund issued buttons of this design for a Victorian Red Cross appeal in July 1915. All funds raised during the appeal were to be used for the support of the Australian Red Cross and the servicmen in their care. Between 300,000-400,000 of the buttons were distributed. Pezikian & Anderson (2017: 14) identify the badge's maker as the Victorian Christian Endeavour UnionCircular pressed metal badge with a plastic coated obverse, metal back and attached pin. In the centre of the obverse, a printed illustration of a Red Cross flag and printed text appears on a red ink background surrounded by a white border. The badge is discoloured. The metal back of the badge is soiled and tarnished.

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. . Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day.Small circular pressed tinplate button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the mapI will Help until the war is won

A circular celluloid and tin button badge with stick pin at back. The badge features black text 'RED TRIANGLE DAY 1 JUNE 1917' printed in a gold border around the outer edge and white text 'GOD/​ KING/​ COUNTRY' in a red triangle in the centre. The centre background is white. During World War I, a large number of benevolent and patriotic organisations and charities were formed to raise money from the public for Australia’s war effort and soldiers, whilst other established organisations held specific patriotic fund raising days. Red Triangle Day was an initiative of the Young Men's Christian Association, commonly known as the YMCA and this badge incorporates the red triangle used as the everyday logo of the YMCA from 1897 to 1967. In 1917 Red Triangle Day raised £159,037 28 towards the war work of the YMCA.A circular celluloid and tin button badge with stick pin at back. The badge features black text 'RED TRIANGLE DAY 1 JUNE 1917' printed in a gold border around the outer edge and white text 'GOD/​ KING/​ COUNTRY' in a red triangle in the centre. The centre background is white. During World War I, a large number of benevolent and patriotic organisations and charities were formed to raise money from the public for Australia’s war effort and soldiers, whilst other established organisations held specific patriotic fund raising days. Red Triangle Day was an initiative of the Young Men's Christian Association, commonly known as the YMCA and this badge incorporates the red triangle used as the everyday logo of the YMCA from 1897 to 1967. In 1917 Red Triangle Day raised £159,037 28 towards the war work of the YMCA.Red Triangle Day God King Country

Black and white photograph of the Governor General Sir William McKell inspecting an honour guard drawn from 8/13 Victorian Mounted Rifles at Albury c. 1950Albury / Governor General Sir William McKell / Lt I McKay, Sgt R Braddy, L/Cpl M Youngguard, vmr, mckell, govornor general, albury, military

Units conducted Adventure Training to build team values.Black and white photograph of soldiers on a raft made of jerry cans engaged in Adventure Training on Ovens River, December 1976.Sodiers from Administrative Troop 8/13Victorian Mounted Rifles..Adventure Training, S/Sgt. M.Miles,Lt Shefford, Sgt S. Berg, Major I Docking, Pte H Delaney, Pte M Clarke"

The Cunningham Shield was presented for Troop Competition by former Commanding Officer Lieutenant Colonel T A I CunninghamBlack and white photograph of Major D. J. Hunter presenting Cunningham Shield to W.O. 11 M. Brudusic, Troop Leader of Administration Troop, the winner of the 8/13VMR Troop Competition 1978

Identification has been given as follows: Young women: (?) Elizabeth Cooper, Ilma Bodley, "Queen" Avis Andrews, Marion Fair, Lynette Elliott. Names of girl and boy attendants not known by donor. The Queen Carnival was a fundraiser for the Holy Trinity Tennis Club. The Queen Carnival Coronation was held in the Canterbury Memorial Hall on 11 June 1940. Mrs F Eastwood was the trainer and the Honorary Secretary of the tennis club. The donor Mary Holborn married Geoffrey Stroud Clucas in 1946 in Surrey Hills. The photo documents a social fundraising practice common in the early 20th century. Queen carnivals were also popular in New Zealand. In both countries they were particularly common during World War I and in the years after, when they were used to raise funds for returned soldiers. The first such carnival is believed to have been held in Napier, New Zealand, in 1913. The carnivals were not always annual events, and were held in various locations throughout a year.Black and white group photo of 5 women, 2 girls and 2 boys in formal costume mounted on cardboard which has been roughly trimmed. The 'Queen' is seated in the centre and the 2 young girls and 4 young women are standing beside her. The 2 'pages' seated in front of her on the edge of her train. The photo appears to have been taken in a hall. REAR: "Holy Trinity Tennis Club Queen Carnival / June 11 / 1940 / M Clucas / 33 Jurang St / Balwyn"sport, tennis, holy trinity anglican church, 1940, clothing and dress, queen carnival, mrs mary clucas, miss mary holborn, mrs f eastwood, elizabeth cooper, ilma bodley, avis andrews, marion fair, lynette elliott, canterbury memorial hall

This is a photograph of the students from grades 3 to 6 in their classroom with their teacher, Pam Telfer at Bulla Primary School in December 1993. The decorations and the Christmas tree indicate it is close the Christmas and the blackboard indicates the era was before whiteboards were introduced into school, not to mention i pads.This is a photograph of classroom prior to the use of white boards, computers and i pads in schools. A coloured non-digital photograph of children sitting on the floor of their classroom in front of their chairs and tables while their teacher is reading to them. It is Christmas time as there is a tree near the blackboard and the room is decorated with streamers and balloons. Three large windows with beige drapes are along one wall. Photograph P0250 is similar. pam telfer, bulla primary school, grades 3to 6

The earliest record of the Sunbury Aussies Rules football is in 1881when a match was played between Sunbury and Keilor. In 1892 the team officially became known as The Swifts. Some of the players have been identified in the image. They are - Standing: J.Fisher, W.Wider, L.Drew, R. Grant, A. Oserham, I. Gilchrist, B. Campbell, A.F. Daniel, E. Campbell and W. Eadie. Seated: P. Whelan, E. Whelan, C. Whelan and E. Meeking. The Sunbury Football Club is one of the earliest and oldest sporting clubs to be still in existence today.A non-digital black and white scanned photograph of a football team taken some time in the early 1900s, showing 21 players and the coach. photographed in an open area. The image has been printed on A4 paper and a list of names is attached.sunbury football club, "the swifts', j.fisher, w.wider, l.drew, r. grant, a. oserham, i. gilchrist, b. campbell, a.f. daniel, e. campbell and w. eadie. seated: p. whelan, e. whelan, c. whelan and e. meeking.

A sepia photograph with a cream border printed on very thin paper of three ladies dressed in long skirts and white long sleeved blouses with dark ties. They are standing in a valley with a hill and trees behind them. Written on the back in ink: WITH FONDEST LOVE/FROM MURIEL/I FORGOT TO PUT IT IN/MY LETTER.

Group Portrait of Stawell Fire Brigade Members in Uniform 1920-1926 BACK ROW: L-R W. STEWART, N. FRASER, H. GRAY, J MADDOCKS (EX. CAPT), ????? SECOND ROW: L-R S.. ROSS,, R. HUGHES , T. DADSWELL, ?, ABRAHAMS , W. COLLINS, ?????? , A. OLIVER (EX. Capt.) THIRD ROW: L-R W. WILLIAMS, W. JONES , W. THOMLINSON , W. RICKARD, R. BROWN, J. BROWN (EX. Capt.) ,T. GOODSON, T. REA . E. GRAY (EX. Capt) , W. EARLE FOURTH ROW: L-R M. CHELLEW, J.H. CLARKE , I. COOK , ???????????? , ??????????????? G. BARNES , W. A. WHITEHEAD , T.S. MARSHALL (Chief Officer) FRONT ROW: L-R JOHN MARTIN , E. CLOUGH (EX. Capt), R. K. CHAPMAN (EX. Capt) , J. NEYLAN (Capt.) , H.H CHAPMAN, P. LEDGAR (EX. Capt), F. CROUCH *NEYLAN was in the brigade from 1922 to 1926Black & white photograph of a large group of men. Some are dressed in uniform.. Large tree, and other men in the backgroundR.K. Chapman !920's Stawell Fire Brigade with older members. J. Neylan Captain R.K. Chapman Lieutenantstawell

Extract of Victoria As I Found It. "Brown on Pleasant Creek" By Henry Brown. Photocopied at the Public Library MelbourneLight Blue Plastic Cover with clear cutout and white paper insert with Black Print"Brown on Pleasant Creek" from "Victoria as I Found It" By Henry Brown Published London 1862stawell gold

Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Horses were used at the gardens until the 1960s when the council bought a truck. Mr Biggs drove as Mr Anderson did not have a licence. He rode his bike to the Town Hall every Friday to put in the time sheets. The collection is the only known photos of the Gardens working horses and demonstrates Edwardian Municipal gardening techniques that continued into the 1960s. They are photographic evidence of the planting styles, species choices and structures. Details inscribed on the reverse of some of the photos confirm names of staff at this time. Photo 13 (m) m: Only known photo of Ernest Anderson to be held by the Gardens2013.001.a-l is a collection of 12 small format photographs from the Anderson family album dated from 1917-1936 plus one large image of donor's wedding c1953. Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Photo 1 (a) Sepia photo of young girl (Chic Anderson) on horse with no saddle. Two men, with hands on hips, standing alongside wearing hats. All are on a small hill (a compost heap) with a shrub on the left of the image. Photo 2 (b) Young girl and horse standing on the top of a small hill (compost heap). Girl has short hair and is wearing a jumper, skirt and long socks. Horse has no saddle and has its head down as if to eat. Photo 3 (c) Horse and foal standing in a fenced enclosure. Part of yard is paved. Horse has a white blaze and white feet. Foal has white blaze and white legs and is looking up at the horse. Photo 4 (d) Horse pulling a mower. Two men standing with mower. One is holding mower, the other the reins of the horse. Both men are wearing hats, with one wearing a vest. Horse has hessian wrapping on his hooves. Photo 5 (e) Horse and man. Horse has a rope bridle. Man holding bridle and is dressed in trousers, shirt, cardigan and hat. They are in front of a hedge and closed timber gate. Tall palm is in background. Horse is side on to the camera. Photo 6 (f) Man and horse standing in front of hedge and open timber gate. Palms in background. Man wearing trousers, shirt, vest, tie, hat. Trousers look to be tucked into boots. He is looking at the horse. The horse is facing the camera. Photo 7 (g) Three horses looking over a picket fence. All with a white blaze. There is a timber wall with a window to the right of the photograph. A man’s arm holding something is seen on the right of the photo. Photo 8 (h) Large palm tree, understorey of shrubs with two palms in the background. Photo 9 (i) Scene of the Gardens. Path dividing at a conifer tree. Woman in long skirt and hat looking up at the conifer. Different varieties of palm trees with understorey of shrubs. Photo 10 (j) Garden bed of Dahlias surrounded by a wire fence. Palms and other trees in background. Photo 11 (k) Avenue of tall palm trees with under storey of shrubs. Photo has angles cut at top corners and two large crease marks at the bottom right hand corner. Photo 12 (l) Set of cast iron gates – double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials on top. Photo 13 (m) Ernest Anderson and daughter Chic prior to her wedding. Ernest is holding his gloves in his left hand and Chic’s hand with his right. Palms trees in the background. Photo 1 (a) 'Ern & Harry / May 8th 1936' Photo 2 (b) ‘Jack aged 36 / Chic 5 years / (unclear) 1936’ Photo 3 (c) ‘foal born in / back shed’ Photo 4 (d) ‘The Olde Firm / Jack Ernie Harry / 1917’ Photo 6 (f ) ‘Before the / council provided / a truck all / work was done / with the horses’ Photo 7 (g) ‘our work horses’ Photo 9 (i) ‘Panoramic view of Gardens / looking South from Lodge / Wms Town Botanical Gardens / 15-10-17’ Photo 12 (l) ‘Gates Public Gardens’hobsons-bay-city-council, curator, lodge, horse, transport, dahlia, compost, anderson, williamstown, botanic, gardens, williamstown-botanic-gardens, hobsons-bay, hobsons, edwardian, gardening, 1936, 1917,