Carpet samples created by Godfrey Hirst, a carpet mill whose history spans back to 1865 when the Victorian Woollen and Cloth Manufacturing Company began operations in Geelong and was purchased in the 1890s by the man Godfrey Hirst. Godfrey Hirst’s entrepreneurial skills and knowledge of the industry led to the great success which saw the company expand in multiple forms over the next century and a half. Today, thousands of metres of carpet are produced by Godfrey Hirst every day, and their flooring can be found in millions of homes. These 6 carpet samples date from the early 1990s and each have a unique colour pattern and design.Each carpet sample is made with a pile fibre that is 100% wool. The primary backing of the carpet is a woven polypropylene with a secondary backing a woven jute. Carpet 8102.1's colour name is Slate. It has a dark grey background with a red and blue diagonal stripe. The pattern repeats in a 10cm x 11.5cm block. Carpet 8102.2’s colour name is Terracotta. It is a mostly block pink colour with no repeating pattern. It has occasional flicks of grey. Carpet 8102.3’s colour name is Arctic Night. It has white, light blue and grey colours repeating one after another in a diagonal line. Carpet 8102.4’s colour name is Ivory. It has a brown background with a cream colour diamond. The pattern repeats in a 15cm x 15cm block. Carpet 8102.5’s colour name is Glenwood. It has a thin darker green and lighter green horizontal stripe spanning its entire width. These stripes repeat the height of the carpet. Carpet 8105.6’s colour name is also Ivory. It has a brown background with a cream colour leaf pattern. The pattern repeats in a 92cm x 92cm block.Wording on rear: Numerous. See Media.godfrey hirst, carpet, textile manufacture

Max MIDDLETON (1922-2013) Born Melbourne In a career spanning 60 years, Max Middleton is known as a 'plein air' landscape painter the artist loved to paint sunrises, aiming to capture what he saw on the spot in paint. Capturing the light was crucial to his artworks. Max Middleton studied Drawing at the National Gallery School under William Rowell in 1938, and painting under Harold Septimus Power in 1940. The first of Middleton's 68 professional exhibitions took place in 1946. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil painting of a landscape near Tallangatta.art, artwork, max middleton, landscape, tallangatta, available, middleton, oil on canvas

Shaun Tan is best known for his illustrated books and short films that deal with social, political and historical subjects through dream-like imagery and fantastic creatures. In addition to his book and film work, Tan is a respected and prolific painter. Tan’s paintings capture a sense of place and atmosphere, even when the specific location is not made explicit. Tan says of his practice: “Often I don’t know why I need to paint a certain scene, only that I do, as if to stop it from drifting away too quickly, to just allow a little more time to think about it. Or to just say ‘I saw this’”.

To commemorating 40 years since The Dawn Of a New Era for the Royal Australian Navy - 1965-2005 - A limited release of a graphite print of Guided Missile Destroyers HMA Ships PERTH (38), HOBART (39) and BRISBANE (41) served the Royal Australian Navy (RAN) from 1965 and 2001.These ships were the first for the RAN to have been designed for the 'Missile Era' and were also the first to be not of a British design instead they were purchased from the United States of America. All 3 served with distinction on the 'Gun Line' during the Vietnam War and the BRISBANE also saw operations of the First Gulf War.Framed print drawn in graphite depicting three Guided Missile Destroyers at sea RAN - Commemorating 40 years since The Dawn Of a New Era for the Royal Australian Navy - 1965-2005 Limited Edition 3/50 Signed Darren McAliece 13 Nov 2005ran, hmas perth, hobart and brisbane, guided missile destroyers

The Storey Dance Orchestra was formed in the 1920s by Arthur Storey, playing voilin & banjo, sister Rita-saxaphone,Jean and brothers Bob and Ben. Later, their mother, also Jean, an accomplished pianist and supporter of the orchestra, filled the pianist role after Jean left home to further her career. The car in the photograph was paid for with orchestra earnings. Their music involvement enabled a large family to sustain the farm during the 1920s and 1930s. World-War-Two intervened, this saw the Storey Orchestra disperse, Bob joined Jean in Melbourne, where they continued their musical careers. Ben joined the war effort, leaving Arthur on the farm. Con Taylor played on with a local Dance Band.The photograph tells of the important part that music played in the social structure of families and the wider community, and provided another means of income in the depression years of the 1930s.B&W print of the Storey-Dance-Orchestra, 1937/38, Ben Storey-banjo, Jean Storey-piano, Bob Storey-saxaphone-clarinet, Con Taylor-saxaphone, Keith Baker-trumpet, Jack Proctor-drums. The car,a Ford Rego.No Vic 21695 Noneclothing, musical instruments, storey, men women, dance orchestra, 1937 38, motor vehicles

The 1950's saw a revolution in small appliances for use in the average household. This hand held self heating(kerosene) iron was introduced as a time saving and more convenient iron for pressing clothes and other cloth fabrics. It replaced irons needing a separate fire source to heat the ironing plate. These irons continued to be in service, even when electricity was available in cities and larger rural towns (domestic electric steam irons were invented in 1938). This item was used before and during the electricity supplies available from the Kiewa Hydro Electricity Scheme. These irons remained in use within regional rural areas that had limited or unreliable electrical reticulation.In the 1950s and later the Kiewa Valley was still a relatively isolated region which was home to rural properties and small settlements. The availability of electricity and or the financial means to afford new types of electric hand irons ensured that older and sometimes less efficient ironing remained for an extended period covering the 1960s to 1970s. Kerosene products, such as this kerosene iron was a cheaper method for farm based domestic and other rural activities requiring a heat source. The use of kerosene as a heat/light source was able to be supplied in bulk and able to be used when floods severed vital roads into this region. The supply of electricity was in summer time subject to interruption from bush fire damaged wooden poles carrying the electrical cables. Self sufficiency by rural populations was the backbone of survival and the ability to store energy sources "on the farm" was a prerequisite of isolated regions, such as the Kiewa Valley, circa 1950s.This Coleman kerosene iron has a solid steel chrome plated(press) base with a painted (blue) wooden handle. The handle is stud fastened onto an oblong shaped rolled steel handle frame and screwed (two screws) onto the base plate. Both the heating plate and the top securing plate are shaped similar to a river boat. The main housing enclosing the heating element is enamel coated(blue in colour) steel and has a half hole for lighting the kerosene at the rear end. Behind the handle and protruding upwards is a stainless steel fully enclosed container (bowl shaped) for the main supply of kerosene to the burner or generator(enclosed within the main body of the iron. The bowl has an air valve and inlet for pressurised air intake (hand pump) On the bottom rear of the fuel bowl there is a screw regulated fuel pump. The fuel heated base plate provides the heat for this advertised "self heating iron(instant lighting). See KVHS 0347B- Instruction sheet; KVHS 0347C- Wrench; and KVHS 0347D Fuel can.Stamped on the base plate of the handle, front region "COLEMAN LAMP & STOVE CO." below this "WICHITA KAN" below this"TORONTO CAN". In the middle of the handle base and in larger print "COLEMAN Instant-Lite" At the rear location in large print "MODEL 4" in smaller print below "MADE IN U.S.A." below this "PAT#1718473"household appliances, alternative non electrical ironing appliances, domestic appliances, kerosene appliances

The 1950's saw a revolution in small appliances for use in the average household. This hand held wrench was provided exclusively for the Coleman self heating kerosene (KVHS 0347A) iron and used for the regular changing the kerosene used in it. The iron was used before and during the electricity supplies available from the Kiewa Hydro Electricity Scheme. These irons remained in use within regional rural areas that had limited or unreliable electrical reticulation. Kerosene supplies were cheaper than electricity but also more inconvenient than electric. Electrical appliances become cheaper to buy and maintain in the later part of the 1900's and the now older kerosene iron was faded out.This wrench was required to open the fuel container which stored kerosene in the Coleman hand iron(see KVHS 0347A). This item was part of the maintenance requirement of this particular hand iron. In the 1950s and later the Kiewa Valley was still a relatively isolated region which was home to rural properties and small settlements. The availability of electricity and or the financial means to afford new types of electric hand irons ensured that older and sometimes less efficient ironing remained for an extended period covering the 1960s to 1970s. Kerosene products, such as this kerosene iron was a cheaper method for farm based domestic and other rural activities requiring a heat source. The use of kerosene as a heat/light source was able to be supplied in bulk and able to be used when floods severed vital roads into this region. The supply of electricity was in summer time subject to interruption from bush fire damaged wooden poles carrying the electrical cables. Self sufficiency by rural populations was the backbone of survival(use of this wrench was a part of rural life). The ability to store energy sources "on the farm" was a prerequisite of isolated regions, such as the Kiewa Valley, circa 1950s.This item is a flat cast iron wrench, which has been specifically made for KVHS 0347A (kerosene iron). The wrench has four specific forms cut into the steel which fit firmly around their targeted nut and other fixtures. Also see See KVHS 0347B- Instruction sheet; and KVHS 0347D Fuel can.ironing, iron maintenance tool, domestic appliances, household

This wetsuit was worn by surfer and 2000 world champion, Sunny Garcia (Haw), It was cut off Sunny when he collapsed on the beach during his heat of the 2004 Rip Curl Pro event at Bells Beach. As the Age reported at the time: "One who left the water in unhappier circumstances was three-time Rip Curl Pro winner Sunny Garcia, who forfeited his heat with American Taylor Knox because of a migraine-like condition that saw him taken to Geelong Hospital for tests. Garcia, who was leading the heat, rode in with nine minutes remaining and appeared to collapse on the beach, holding his head in his hands." This wetsuit was worn during the prestigious Rip Curl Pro at Bells Beach. It is a rare artefect from a major medical emergency at a world professional surfing contest.Sunny Garcia's wetsuit. Torn Hotline wetsuit, full length 3/2 steamer. Wetsuit is cut and torn.Hotline Wetsuits, Santa Cruz, Calif, Superflex 3/2 modelrip curl pro, wetsuit, sunny garcia, hotline, torn, collapse

A small wooden school (22' x 14') was erected in Sandon by Father Patrick Smyth in 1859 (and at Golden Point) which was used for Mass and came to be regarded as a chapel. Twenty-three years later, a brick church was built by Father Allen at a cost of 1,000 pounds. The Church was blessed by Archbishop Goold on May 6th 1883 and dedicated to St Laurence. The 1940s saw some refurbishment and in 2002 a major restoration project was undertaken. St Laurence's was restored from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence's was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria. sandon, sandon cemetery, st laurence o'toole catholic church, sandon

After a nearby mill closed down the Cashin family, who lived south of the mill site, requested Victorian Railways to keep the siding open for passenger use, which it did, but changed the name to Birnam in 1926. In 1927 it was moved south a little distance, closer to the houses it served. From left to right, awaiting the train, are the people it served, Tom Cashin, Ted Cashin, Arthur Cashin, the child Eva Facey, Jim Cashin, Sarah Cashin, the second child, Doris Hansen, Beatrice Hansen (nee Cashin), Bert Hansen, Jim Facey and Percy Facey. It was regularly patronised until 1939 after which it saw little use.B/W. 195mm x 250mm. At Birnam Station in c.1926, seven men, one with covered axe, three women and two children, awaiting the train.birnam; railways; tom cashin; ted cashin; arthur cashin; eva facey; jim cashin; sarah cashin; doris hansen; beatrice hansen; bert hansen; jim facey; percy facey;

A small wooden school (22' x 14') was erected in Sandon by Father Patrick Smyth in 1859 (and at Golden Point) which was used for Mass and came to be regarded as a chapel. Twenty-three years later, a brick church was built by Father Allen at a cost of 1,000 pounds. The Church was blessed by Archbishop Goold on May 6th 1883 and dedicated to St Laurence. The 1940s saw some refurbishment and in 2002 a major restoration project was undertaken. St Laurence's was restored from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence's was re-dedicated with the celebration of Mass and a picnic tea. Black and white photograph of a brick church at Sandon, Victoria. sandon, sandon cemetery, st laurence o'toole catholic church, sandon

Rossi Boots started in 1910 when Arthur Edward Rossiter resigned from his position as a supervisor at the Adelaide Boot Company and started Rossiters Ltd in a small tin shed in his backyard. A larger factory was needed so the first of three stages of a factory was built. During the Second World War Rossi Boots was a major supplier to the military making hundreds of thousands of boots that saw service in various theatres including New Guinea. The war years saw the number of employees peak at around five hundred. As methods of manufacturing footwear changed as petroleum-based products such as glues, rubbers and plastics have replaced the traditional ones of leather, nails, and threads. More modern machinery was introduced to directly mould soles to the bottom of the boot. At the end of 1987, the company moved from Unley to Hilton this move allowed production to be carried out in a more modern, fit-for-purpose factory. Since then the company has continued to change; introducing computer-controlled machines for cutting, sewing, and attaching soles. These changes occurred whilst many of Rossi's competitors moved offshore. Whilst the introduction of these machines reduced the number of local staff, it has enabled Rossi Boots to continue to manufacture in Australia. In March 2019 Rossi Boots relocated the factory, warehouse, and headquarters from Hilton to Kilburn, South Australia. This move to a new, expansive location allows Rossi Boots to continue manufacturing in South Australia housing all operations under one roof. The items are significant as they show the beginnings of an important manufacturer and innovator that is still in the original founding family's ownership and is producing boots today with exports to many countries. Boots leather lace up brownNonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

8A Built in 1908 and painted Canadian red & dark brown, this locomotive was issued to the Upper Ferntree Gully to Gembrook line. Over the years, it saw service on the Colac to Crowes and Moe to Walhalla lines, but it saw more service on the Gembrook line than any other. It was withdrawn from service in 1955 at Upper Fern Tree Gully and sold to the Beaumaris City Council where it remained on static display until 1970. After storage at Newport & Ballarat North Workshops, it was brought to Belgrave in 1976 for restoration. It was returned to service in 1982 after a complete rebuild in close to its late 1920s condition with its extended bunker & modified front end including the tapered “stovepipe” smokestack, steel cow-catcher and the all-over Black livery. Loco: 8A In service Monday, 2nd March 1908 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762mm / 2' 6" Status Preserved - Operational Service History : May 1908 - UFTG. - initial allocation of a new locomotive May 1908 - Mar 1910 UFTG. Apr 1910 - Mar 1915 Colac Jun 1915 -Sep 1926 UFTG. Jan 1927 - Jan 1930 Moe Mar 1930 - Oct 1936 UFTG. Nov 1936 - Dec 1936 Moe Jan 1937 - Oct 1954 UFTG. Dec 1954 - Workshops Jan 1955 - Jan 1968 Other Jul 1970 - Apr 1977 Workshops Jul 1982 - Belgrave - In active service at Puffing Billy Railway Belgrave Victorian Railways - Narrow Gauge NA class steam locomotive number 8A Dates that 8A worked on the Gembrook Line Mar-1908 to Apr-1910 - initial allocation of a new locomotive Jun-1915 to Jan-1927 Mar-1930 to Nov-1936 Jan-1937 to Dec-1954 Jul-1982 - Returned to service PBRSteam Locomotive 8Apuffing billy, 8a, victorian railways, narrow gauge, steam locomotive

12A Built in 1912 and painted Canadian red & dark brown, this locomotive was issued to the Colac to Crowes line, but over the years saw service on all four lines. It was withdrawn from service in 1954 at Moe and sent to Newport Workshops for storage where it remained until 1972. After overhaul at Ballarat North Workshops, it was brought to Belgrave in 1973 where it saw continuous service until withdrawn in 1982 for a complete rebuild. It was returned to service in 1992 in close to its early 1940s condition with all-over Black livery. It will be returned to its post WWI condition with low bunker, narrow ash chute, steel cowcatcher and Canadian red livery. Loco: 12A In service Monday, 23rd December 1912 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762mm / 2' 6" Status Preserved - Operational Service History: Oct 1912 - Colac - initial allocation of a new locomotive Oct 1912 - Nov 1916 Colac Jan 1917 - Jan 1919 UFTG. Mar 1920 - Wangaratta Jul 1920 - Sep 1925 Colac Jan 1926 - Aug 1926 Moe Sep 1926 - Oct 1937 UFTG. Mar 1938 - Mar 1943 Moe Aug 1943 - Dec 1946 UFTG. Mar 1947 - May 1948 Workshops Mar 1949 - Apr 1950 UFTG. May 1950 - Aug 1954 Moe Oct 1954 - Jul 1970 Workshops Aug 1973 - In service at Puffing Billy Railway Victorian Railways - Narrow Gauge NA class steam locomotive number 12A Dates that 12A worked on the Gembrook Line Jan-1917 to Mar-1920 Sep-1926 to Mar-1938 Aug-1945 to Mar-1947 Mar-1949 to May-1950 Aug-1973 - Returned to service. Oct-1977 - Transferred to ETRB ownership.Steam Locomotive 12Apuffing billy, 12a, victorian railways, narrow gauge, steam locomotive, na class

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Black and white photograph of Brigadier H.H. Hammer, Commander 2nd Armoured Brigade and Staff - Sargeant R.J. Roberts, Orderly Room Sergeant of 8/13 Victorian Mounted Rifles.Comd 2 Armd Bde, Brig H.H. Hammer, pinning British Empire medal on S/Sgt R. J. Roberts, Earlsfield Road, Hampton, O/Room Sgt of 8/13thVictorian Mounted Rifles at Puckapunyal Camp during 14 day camp of Regiment in January. S/Sgt Roberts saw service in M.E., England, and South Africa with Australia Mil Liaison Staff. S/Sgt Roberts was a member of champion Victorian debating team, and trained Regt team to highest standard yet attained in services.Gave up great deal of own time in this work, and also re-organizing orderly rooms of units in country areas. Is a member of ARA.

Table of Contents: Editorial, Rotary converter notes, Ambulance, Slime treatment for attraction of gold, Description of slime settler or dewaterer in use at the Brownhill Consols mine Kalgoorlie, Transvaal geology, Chlorine produced electrolytically, Scaling of copper plates, The eucalyptus, Sports meeting, Rowing, Past students, News and notes, Answers to correspondents, Editorial notices. Images.Magazine of 24 pages. Page 17 lists the whereabout of past Ballarat School of MInes students: J.R. Booth, W.t. Lakeland, Lewis Westcottm Leo M. Seward, Reginald Williamson, Stanley White, Clyde Allan, Charles Lamb, W.E. Eyres, Virgil Tucker, H. Hawkesworth, H.J. Saw, Fred G. Brisnden, C. Stevenson, Fred Treloar, J. Peart, E.M. Weston, Dick Galloway, H.B. Bennetts, G.R. Curry, H. Meadows, Eric Bieske, Cliff Garrard, Phil Brown, Lindsay D. Cameron, Phil Brown,, W.P. Avery, J. Foster, J. Bickett, F.H. Inglis, G. Devenport, t. lennon, h. wilkins, g.h. reid, c. hesselman, E. Fraser, Reginald Callister, F. Bicknell, Leslie Blick, W.T. Sayer, W.F. Hall, O.e. Jaeger, W. Gelard, P.C. Downes, G. Sides, F. Bruce, Frank Bruce.rotary converter, ambulance, slime treatment for attraction of gold, slime settler or dewaterer, brownhill consols mine kalgoorlie, transval geology, chlorine produced electrolytically, scaling of copper plates, eucalyptus, alumni, rollo e. huntley, j.r. booth, w. t. lakeland, lewis westcott, leo m. seward, reginald williamson, stanley white, clyde allan, charles laird, w. e. eyers, virgil tucker, h. hawkesworth, h. j. saw, fred g. brinsden, c. stevenson, fred treloar, j. peart, e. m. weston, dick galloway, h. b. bennetts, g. r. curry, h. meadows, will watson, don cameron, eric bieske, cliff garrard, lindsay d. cameron, phil brown, w. p avery, j. foster, james bickett, f. h. inglis, g. davenport, l. c. courbould, t. lennon, h. wilkins, g. h. reid, c. hesselmann, e. fraser, reginald callister, f. bicknell, leslie blick, w. t. sayer, h. f. hall, o. e. jaeger, w. geldard, p. c. downes, g. sides, f. bruce, e. c. hurdsfield, william baragwanath, r. i. moore, j. l. sampson, h. conran, w. gelard, frederick j. martell, h. cornell, g.c. klug, great fingall consolidated ltd, transvaal geology, eucalyptus gum tree, w.t. lakeland, lewis westcottm leo m. seward, charles lamb, w.e. eyres, h.j. saw, fred g. brisnden, e.m. weston, h.b. bennetts, g.r. curry, w.p. avery, j. bickett, f.h. inglis, g. devenport, g.h. reid, c. hesselman, w.t. sayer, w.f. hall, o.e. jaeger, p.c. downes, frank bruce., mt morgan, kalgoorlie, mt elliott copper mine, ballarat city baths, r.b. young

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

The Howel plane is really no different from a compass or circle plane, it is attached to a large curved fence that rides along the top of the staves. The Howel cuts a smooth shallow hollow, to give a level place to cut into with the next tool the Croze which cuts a narrow groove for the barrel head. The Croze has a similar wide fence that rides on the ends of the staves, but with either a saw-tooth type cutter or two nickers and a single tooth like a router plane. The head of the barrel fits into this groove and is made up of two or three boards doweled together and smoothed with a large shave called a swift. The cooper cuts the edges to a fine bevel of the head to fit snugly into the groove cut by the Croze. A tool specific to the cooper that has been in use since the making of barrels and wooden buckets for hundreds of years without much change to the design or how the tool is used. Howel Coopers Plane Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. This item is a black and white photograph(professional) of a panoramic view of a snow plough clearing the unsealed road in 1950.This postcard is on quality paper and the reproduction of the picture is of a high standard.For other "tourist" postcards see 0480 (A) -(F) for other photos of similar postcards. kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, secv, snow plough

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph on a Valentine's postcard is from a V2 Argus photograph.. It is on a 200g/m paper density photo side gloss. See 0480 (A) - (G) for other photos of similar postcards.In white lettering " ROAD TO BOGONG HIGH PLAINS KIEWA HYDRO-ELECTRIC PROJECT", V3secv, road making, victorian alps

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph is from a Valentine's V2 Argus postcard. It is on a 200g/m paper density one side gloss. See also KVHS 0480 (A) to (L) for similar postcards. "ROCKY VALLEY FROM BOGONG HIGH PLAINS KIEWA HYDRO-ELECTRIC PROJECT" "V1"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, rocky valley, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph is a Valentine's postcard, from a V2 Argus photograph. It is on a 200g/m paper density with only the photo side gloss.Front "JUNCTION DAM & SPILLWAY, BOGONG KIEWA HYDRO-ELECTRIC PROJECT" on the flip side "VALENTINE'S POST CARD " "A GENUINE PHOTOGRAPH"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, junction dam, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph on a Valentine's postcard is from a V2 Argus photograph. It is on a 200g/m paper density one side gloss only/. See 0480 (A) -(L) for other photos of similar postcards."JUNCTION DAM & SPILLWAY, LAKE GUY, BOGONG, KIEWA HYDRO-ELECTRIC PROJECT" "V5" on the flip side" VALENTINE'S POST CARD " "A GENUINE PHOTOGRAPH"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, junction dam, secv

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap.This black and white photograph from a Valentine's postcard is from a V2 Argus photograph postcard. It is on a 200g/m paper density photo side gloss. See 0480 (A) - (K) for other photos of similar postcards."No.3 POWER STATION KIEWA HYDRO ELECTRIC PROJECT" "V8"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, secv

The Melbourne Women's Walking Club enjoyed bush walking as a hobby travelling to the north east of Victoria, using pack horses and camping on a 9 day hike. One of the woman, 'Bill' describes each day in detail - what they did, where they went and what they saw giving an insight into walking and the Bogong High Plains in the mid 1930's before the Kiewa Hydro Electric Scheme opened up the area. The diary mentions a photo being taken by Mr Blackwell on the 9th day, New Year's Eve 'from a lovely bush track from which, looking back at intervals we got our final glimpse of Fainter. 5 miles from from our destination'.Historic: This extract from the diary of 'Bill', a member of the Melbourne Women's Walking Club gives an insight into walking in the mid 1930's and describes the Bogong High Plains as it was then before it was opened up with a road built during the Kiewa Hydro Electric Scheme. It describes the area in summer including the flora & fauna, cattle grazing & cattlemen, the huts, the gauges set up by the State Electricity Commission of Victoria, the people working up there, the weather and the lifestyle of the walking group - their food, duties, swimming etc.. Six double sided typed photocopied yellow pages describing the Melbourne Women's Walking Club trip to the Bogong High Plains at Christmas in 1934. Also one page photocopied of the programme for Year 1934-35 with an arrow pointing to the above trip and a page with a photocopied sepia photo of the "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934. DVD 12 photos of the trip arrow showing trip from Programme. Title of photo "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934melbourne women's walking club. bogong high plains. camping. pack horses. cattlemen's huts.

David Fletcher Jones was born in Bendigo in 1895. He served in World War 1 and returned in 1917 and with a war repatriation loan bought a hawkers wagon and commenced working a circuit around the Western District. In 1924 he bought a business in Warrnambool and after an initial shaky start he started to build his business. He was well regarded and involved in the town and the 1960-70’s saw the Fletcher Jones brand and factory expand to become one of the largest employers in the town. Ownership was based on a co-operative model with employees owning shares in the company. As well as manufacturing he had a number of retail stores across Australia. This item is likely to be a prop from one such store. A minor item which is linked to an important part of Warrnambool’s past.Piece of wood shaped like a necktie with advertising slogan and small diagram in black text.Fletcher Jones says “Gentlemen prefer Blends” You will never wear a colour that hurts your eyes_ When you accept the help of “The Man’s Shop”sir fletcher jones, david fletcher jones, fletcher jones warrnambool