Benjamin Danks was b. 1853 England, ordained 1878, and died 1921 in Rookwood, NSW. DANKS, Benjamin (1853-1921) Michael Horsburgh, DANKS, BENJAMIN (b. Wednesbury, England, 12 Feb 1853; d. Sydney, NSW, 12 April 1921). Methodist missionary in New Britain and missionary administrator. Benjamin Danks migrated to Vic with his family when a young child. He entered the Wesleyan Methodist ministry in 1878 and was sent with his wife, Emma, daughter of John and Elizabeth Watsford, to join the Rev George Brown in the newly established missionary venture on the Duke of York group in New Britain, where he remained for nine years. An opponent of 'blackbirding', the traffic in indentured island labour for the Australian sugar cane industry, he warned local inhabitants not to go aboard any vessel recruiting labour for distant places, much to the displeasure of the labour traders. In 1880 he participated in the rescue of the survivors of the ill-fated settlement established by the Marquis de Rays. In 1907 he succeeded George Brown as the general secretary of Foreign Missions for the Methodist Church of Australasia and was president of the NSW Conference in 1908. He retired in 1918 and died in 1921 after a long illness attributed to the privations of his missionary career. Danks was highly regarded as a linguist and published the first book in the Tolai language of New Britain. He was a strong supporter of state legislation to control social evils, and to ensure pure food and drugs. He was an ardent temperance advocate. George Brown, An Autobiography (London, 1908); New South Wales Methodist Conference, Souvenir of the Presidency of the Rev. Benjamin Danks (Sydney, 1909); Wallace Deane (ed), In Wild New Britain (Sydney, 1933); Neville Threlfall, One Hundred Years in the Islands (Rabaul, 1975). MICHAEL HORSBURGH Electronic Version © Southern Cross College, 2004. Content © Evangelical History Association of Australia and the author, 2004.Photocopy of page from a book (A4 size) with pictures of Danks and Mrs. Danks and a map showing New Britain and New Ireland and the mission stations of the New Britain district of the Wesleyan Methodist Mission and the sites of the Free Colony of New France.danks, benjamin, new britain

Mr John P. Adam was a member of the Kew Presbyterian Church. He was born in Scotland and came to Australia at the age of 13 when his father was appointed Professor of Divinity at Ormond College. John Adam studied law and commenced practice in 1924. He served on the Council of the Law Institute of Victoria and was President in 1949. He gave a lifetime of service to the Presbyterian Church of Victoria and Australia. He was law agent of the Victorian Church for 20 years and was foundation Convenor of the Donald Cameron Homes Committee for elderly people. He was a member of the Council of Presbyterian Ladies' College for 20 years and Chairman from 1958 to 1965. He was also a member of the Ormond College Council. He was an active member of the Kew Presbyterian Church , serving on the Board of Management and Session for 47 years. John Adam was also Superintendent of the Sunday School for 19 years and a leader of the Young Men's Bible Class. He died aged 78 on 11 March 1973.B & W head and shoulders photograph of Mr John P. Adam wearing a dark suit and buttonhole in his lapel.john p. adam, scotland, ormond college, law, law institute of victoria, presbyterian church, kew, donald cameron homes committee

Albert Thomas Holden was born in 1866 at Geelong, died in 1935 and is buried in Boroondara cemetery. From 1883-84 he taught in Kyneton and became a Methodist lay preacher. He graduated with a B.A. from Ormond College in 1888. He entered the Methodist ministry and worked in Burwood and at the Omeo Home Mission. During 1892 he toured Europe and the Middle East with Rev Bickford. In 1898 Holden was an army chaplain and served South Africa. He became Methodist Chaplain General in 1913. In 1904 Holden became Secretary of Methodist Home Missions and traveled throughout Australia. Holden was General Superintendent of the Methodist Church of Australasia from 1929 - 1932 and then President- General. Holden became a Freemason in 1898. [taken from the Australian Dictionary of Biography]Sepia, head and shoulders studio portrait of Albert Thomas Holden, as a young man dressed in academic regalia. He is looking to his right.albert thomas holden, ormond college university of melbourne

Rev. Pat Wood (1910-1993) OBE OAM was a RAFF Chaplain 1942-49 and Moderator General Australian in 1975. Re Rex Collis Mathias (1907-1986) was a peace activist and spoke to the public on the Yarra Bank under the banner of "voice of Methodism". He led the Young People's Department in 1939 and in 1940 was Chaplain of Wesley College. He was Director of General Conference, Department of Christian Education.Gloss, three-quarter image of Rev. Gillam Albert McConnell Wood (Pat) and Rev. Rex Collis Mathias in situ.wood, p., presbyterian, methodist, moderator general, voice of methodism, yarra bank

The Rays' badge was adopted by General Grand Council in Melbourne in 1935 with the design being submitted by South Australia. It was not to be worn on the Rays' regalia. "The shape of the badge represented the love with which every child of God is encircled. The blue circle stood for loyalty, the ivy leaf for friendship as well as recognising the Rays as a section of the Methodist Girls' Comradeship, and the white background for purity of mind and heart. The gold lines represented the good deeds which go out from each young life as rays of light bring sunshine to others. This meaning was adopted at General Grand Council in Sydney in 1948. In 1966, General Grand Council in Sydney, decided to discontinue the use of the Rays' badge in favour of the one badge [B021] for the whole organisation, thus emphasising the unity of all sections." Leaders' Manual for Comradeship 1970.MGC061.1 and MGC061.2, MGC061.3 and MG061.4 - White, blue and gold round MGC Rays' enamel badge with a pin on the back. "R"methodist girls' comradship rays section, badges

The young male is dressed in full army attire. He might have been a home service conscript who served in Australia sometime between 1911 through to the 1920s.A black and white photograph mounted on card, of a male in army uniform.world war 1, soldiers, armed forces, clothing and dress, uniforms, unidentified, george evans collection, conscription

No 1: Matron Eagleton with Nursing Staff, Ballarat & District Hospital. Priscilla Wardle, far right - trainee nurse 1905-1908. No 2: This could be a group of trainee nurses at Ballarat Hospital. Circa 1906/1907. The nurses with the grey looking sleeves in this black and white photograph may be wearing the lilac uniform of Trainee nurses. The sitting nurse on the far right may already be qualified because she appears to be wearing the white of a trained nurse. Sitting in the middle with the cheeky grin could be Priscilla and the standing nurse on the far left could be Edith Popplewell. No 3: This photograph is labelled 1907 and Priscilla would have just commenced her training. She appears to be “fanning” a female patient presumably to cool her down. This could be upstairs in the Queen Victoria’s Women’s Ward. Priscilla graduated as a nurse in 1908. In this photograph Priscilla was at age 23 years. No 5: Sheila Kelly (left) and Priscilla Wardle. This photograph is labelled 1909 and shows Priscilla in an all white uniform indicating she has qualified as a nurse. Sheila Kelly appears to have darker sleeves/blouse (lilac) and may still be a trainee. No 6: There is a very good chance that this photograph is Edith Popplewell, standing left, Lily MacKenzie , standing on the right and Priscilla seated. Writing in her album is very hard to read but it appears to be “Pop McK & I”. The arm bands with the St John Cross denote they are “charge nurses” maybe in charge of a ward. Taking all this into account the photograph could be circa 1909/1910. No 8 & 9: Priscilla painting what appears to be a gate while wearing her nurse uniform. She has a big grin on her face. Together with Lily MacKenzie they were the principals in the Mount Stuart Private Hospital at 18 Duke Street. Daylesford. This property is now known as Mount Stuart House. Priscilla appears to be on Central Spring Road with the Daylesford Post Office in the background. Photograph 9 is labelled 1914 which would make it near the end of their tenancy between 1911 and 1914. No 10: This photograph raises some questions. Priscilla appears to have darker sleeves /blouse (lilac) which may indicate she is still a trainee however Priscilla is also wearing a “charge nurse” arm band. While my research shows trainee nurses can be a “charge nurse” this is not common practise. The scene appears to be at the door of a house/home. I am not sure if the children’s ward/orphanage at the Ballarat Hospital at this time was in such a building. It could be that it is at the Mount Stuart Hospital but this would mean Priscilla and Lily have duplicated the wearing of the “charge nurse” arm band. The St John’s logo looks different too. Priscilla Isabel “Pearl” Wardle (1884-1967). The armband indicates Priscilla is a Charge Nurse at the Ballarat Hospital. Nothing else known. No 11: Mary & I at Mount Stuart – House Daylesford – This is probably the nursery at the Mount Stuart House Private Hospital being run by Priscilla Isabel “Pearl” Wardle (1884 – 1967) and Selina Lily (Lil) MacKenzie or McKenzie (1882 – 1975) between 1910 and 1914. Mary is certainly Mary Young MacKenzie or McKenzie (1865- 1942) Lily’s stepsister who trained at Ballarat Hospital as “Mary Young “at the same time as Priscilla and Lily. Mount Stuart House still stands at 18 Duke Street Daylesford. Photo date 1912. No 12: Priscilla wearing her distinctive Queen Alexandra’s Imperial Military Nursing Service Reserve cape and badge. Possibly while nursing in London for a month in 1919 after the war. No 12A: Priscilla Wardle - WW1 Diary, OCR enabled. No 13: Priscilla and friends at No. 7 General Hospital, Malassises, Saint Omer, France in July 1915 The old monastery being used as a hospital can be seen in the background. The tents are the nurses quarters. This photograph may have been taken at the same time as the group photograph on page 250 of the diary transcription. Priscilla is thought to be the nurse at the centre in the QAIMNSR uniform. The nurses quarters at the No 7 General Hospital in Saint Omer in France where Priscilla worked for most of the first year of her Diary. Their Monastery (Hospital) at Malassises can be seen in the background. No 15: Priscilla is an Acting Sister working at the 2nd General Hospital for Officers in Havre, France, between March and July 1918. The nurses were enjoying their “tea party”. (see also page 253 of the Diary transcription) No 17: Priscilla at Havre - at 2nd General Hospital (Officers Hospital) in Havre., France Friday 29 March 1918 to Monday 29 July 1918 note the two dark bands on her right sleeve denoting that she is an “Acting Sister”. Priscilla is 34 years of age in this picture and in the three weeks prior to this posting she met Cyril Terence Charles Kirby (1892-1968) her future husband at the 42nd Stationary Hospital in Flixecourt while he was serving with the British Army during the battle and evacuation of Amiens. No 18: Priscilla Wardle at No 8 Stationary Hospital Wimereux, France - from Saturday 24 June 1916 to Tuesday 18 September 1917, Priscilla worked at this hospital for 15 months her longest time in one hospital. during the war. While at Wimereux on Sunday 1 July 1917 she was appointed an Acting Sister. Priscilla once said she disliked nursing in her cape and badges and here she is in her favourite “uniform” for work “the robe” as she called it. She may be leaving the “operating theatre” at Wimereux in this photograph. No 19: Priscilla worked in various operating theatres throughout France. This could be after she became an anaesthetist in 1918 and worked with this team. She is wearing her favourite uniform which is more comfortable. She did not like the collars and capes that were required to be worn. No 20: Priscilla and Sister Michael Meeke? (details not found) are having a quiet drink at the 2nd General Hospital for Officers in Havre, France. Note the dark bands on their sleeves denote their rank as nursing “Sisters”. While it looks like they are smoking look more closely they are in fact holding a “flute” style probably “cocktail” glass. Tea parties and cocktails, Havre could almost have been fun. No 22: 1913 – Ballarat nurse Priscilla Isabell “Pearl” Wardle (1884-1967) in Cannes on the French Riviera during leave from between Friday 20 February 1918 and Friday 6 March 1918.Priscilla is second from the left wearing her distinctive QAIMNSR cape of grey with dark “wine” coloured border. The other nurses are wearing their “travelling” army uniform. They were rudely called “Salvation Army Lassies” by American nurses for the way they were dressed. (see page 232 of Priscilla’s War Diary) The description of 1913 on this photograph is confusing. No 23: Priscilla with her best friend Edith Victoria Donaldson somewhere in the “mysterious far east” on their trip on the Orontes. Priscilla is second from left - this may have been taken at Durban during Priscilla's return to Australia in 1919. No 25: Priscilla Wardle, Ballarat nurse in her Queen Alexandra’s Imperial Military Nursing Service Reserve (QAIMNSR) uniform. Notice the distinctive grey cape with “wine coloured” border Priscilla is also wearing her QAIMNSR qualification badge (medal) on the right side. Because she has no dark (wine coloured) bands on her sleeves so this photograph may be before 1 July 1918. No 26: Priscilla met her husband to be English army Lieutenant Cyril Terrence Charles Kirby during the battle and subsequent evacuation of Amiens in France. As an army nursing “Sister” Priscilla also held the rank of Lieutenant. Priscilla was stationed at the 42nd Stationary Hospital between 7/3/18 and 23/3/18. She had just completed a fortnight break at Cannes on the French Riviera. They were married at Priscilla’s home “Waverley" at 215 Dawson Street Ballarat on Saturday 15 November 1919. Nov 15, 1919 – Mr and Mrs Kirby. The bride Priscilla Isabell “Pearl” Kirby (nee Wardle) (1884-1967) and the groom Cyril Terence Charles Kirby (1892– 1968) on their wedding day. Priscilla was 34 years of age and Cyril 27 years of age however their marriage certificate states that they were both 34 years of age. Their marriage certificate states they were married at Waverley, Dawson St, South, Ballarat in a Presbyterian service conducted by the Rev. John Walker, a Minister of the Presbyterian Church of Australia and the Moderator General of the Church we think for Victoria. Was it in an outdoor setting as the surrounds in this photograph seem to indicate. Their witnesses were Robert and Olive, Priscilla’s brother and sister. Cyril signed as C. Terence. C. Kirby and Priscila signed as Priscilla I. Wardle. The certificate lists Cyril (Terence) as a Bachelor, Born at sea on a British ship and his occupation as Sailor. His father interestingly is listed as Charles John Kirby, of independent means and his mother as Emily Newman. Priscilla is listed as a Spinster, born in Ballarat with occupation as a Nurse. Her father is listed as Henry Thomas Wardle, Timber Merchant and her mother as Isabella Allan. They are both resident at 215 Dawson St. Ballarat which was Waverley the Wardle family home. No 28: Reverse in Poppy’s handwriting: “Lovingly yours Poppy, Dec 1908” Taken the year after Poppy qualified at BBH. No 29: Reverse in Poppy’s handwriting: “With much love to you Cilla, Poppy 1915” This picture was taken in the same year as the Marquette sinking incident. Edith Catheina Popplewell RRC (1884-1972) in her New Zealand Army Nursing Service (NZANS) Uniform. Poppy is at age 29 years in this photograph. Poppy was awarded the Royal Red Cross (RRC) medal for her heroism during the sinking of the Marquette transport ship. She lost her best friend NZ nurse Lorna Ratray. No 30: Taken in Cairo. Poppy is in the centre and wearing her New Zealand army badge and cape. The two nurses on either side are Australian nurses probably wearing their unique silver Australian Army sunrise badge and cape. No 31: Reverse in Poppy’s handwriting: “Ward 7 on Xmas day 1917, with my love, Poppy, A Happy New Year to you – had the sweetest letter from Bobbie”. (Bobbie is Priscilla’s brother Robert). It is thought the nurse in the centre of the three on the left is Poppy. It is 1917 two years after the Marquette sinking. Poppy appears to be a “sister” note the two dark bands on her sleeve. The uniform also matches that of Poppy 2. This photograph is in Post Card form very common during WWI. Edith Popplewell RRC is the “Sister” in the middle of the group of three nurses on the left. She is a sister not a general nurse because of the two bands on her left wrist denoting her rank. She was in fact the Charge Nurse ( in charge) of Ward 7 at this time. Note the Christmas decorations. Poppy is at age 33 years of age in this photograph.Bobbie is Priscilla’s brother Robert Norman “Bobbie” Wardle (1895-1979). No 32: Lilly MacKenzie & Poppy – Otaki - Australian nurse Selina Lily (Lil) MacKenzie sometimes McKenzie (1882– 975) grew up and trained as a nurse in Ballarat Victoria. After completing her training Lily and Priscilla Isabell “Pearl” Wardle (1884 – 1967) conducted the Mount Stuart House Private Hospital in Daylesford Victoria. In late 1913 Lily travelled to Otaki, 32 kms north of Wellington in New Zealand and worked at the Otaki Cottage Hospital with close friend Edith Catheina Popplewell “Poppy” (1884-1976) who also grew up and trained as a nurse at the Ballarat Hospital. In 1914 Lily was matron of a private hospital in Taihape 150kms north of Wellington. Both Lily and Poppy volunteered for New Zealand but as New Zealand were not accepting Australian trained nurses she returned to Australia and enlisted in the Australian Army Nursing Service (AANS) in October 1915. Lily went on to serve in Egypt, England, France and Italy where she was awarded the Royal Red Cross (RRC) medal for her service. This photograph is while Lily and Poppy were working at Otaki Cottage Hospital in New Zealand. Circa 1914. trainee, charge sister, ballarat, hospital, 1905, 1908, ww1, mount stuart house, sleeman, wardle, popplewell, mackenzie, military, queen alexandra's imperial military nursing service reserve, daylesford, nurses, private hospital, edith popplewell, france, cairo, diary, ww1 diary, havre, lily mackenzie, eagleton, matron, otaki, new zealand, donaldson, malassises, kelly, young, kirby

From Dr A. C. C. ""Bill"" Burstal Surgery, Young, NSW. Father Dr James Burstal.iodine, eastman, pharmacol, sydney australia, dr, burstal

This photograph shows a young Wilfred Busse wearing work clothes in the Australian bush. These clothes were all chosen for their practicality in the Australian bush, and create together a distinctive style that is easily recognisable. While it initially appears that he wears long boots, he actually wears shorter shoes with an additional leg protection called gaiters. These protected the legs and were particularly useful to Australian settlers to protect from snake bites. His trousers, or breeches, are of a similar style to the ones issued as Australian Army regulation during the First World War, which were baggy around the thighs and became tighter below the knee. His long shirt protects him from the harsh Australian sun, and he wears an iconic Akubra hat for sun protection on his face. It is assumed that this photograph shows Busse when he was working on a Station in Victoria in his twenties, which is supported by the style of his clothing and his age.This photograph is significant as it shows Wilfred Busse as he appeared in his younger years, presumably on a Station in Victoria. It also provides a primary resource of working clothes for white settlers in the early 20th centuryBlack and white rectangualr photograph on matte photographic paper in wooden frameaustralian settlement, settlement, workmen, work, clothing, workwear, bush, wilfred busse, busse, busse author, chiltern, chiltern athenaeum, chiltern athenaeum museum, 1920s

''It's dangerous to allow yourself to be loved'' This Theatrical adaptation of the ''Song of Solomon'' will challenge your perception of love. Cost at the door: $19.90 Full / $17 Friends and $12 Concession. Directed by Robert Draffin Designed by Lloyd James Cast : Mary Sitarenos , Paul English , Kerry Armstrong , Margaret Mills , Deidre Rubenstien. Musician : Chris Young .Music by Tyrone Landau and Chris YoungIt was played as a limited three week performance. It was sponsored by the Sidney Myer Fund, SBS 1224, Arts Victoria and Australian Council for the Arts.coloured flyersong of songs, athenaeum theatre, kerry armstrong

PHOTOGRAPH ADVERTISING (INSIDE FENCE) NATIONAL MUTUAL LIFE ASSOCIATION AUSTRALIA LIMITED MARKET STREET, CLUNES, MELBOURNE. F.J. MATTHEWS AGENT.BLACK AND WHITE COPY OF PHOTOGRAPH OF TWO FEMALE ADULTS AND YOUNG GIRL STANDING IN FRONT OF VINE COVERED HOUSE AND PICKET FENCE. F.J. MATTHEWS. COMMISSION AGENT SIGN ON BLUESTONE BUILDING IN FRASER STREET, CLUNES, SIGN OUTSIDE OF HOUSE - NATIONAL MUTUAL LIFE ASSOCIATION AUSTRALASIA, F J MATTHEWS AGENTlocal history, photography, photographs, shops, national mutual life association australia ltd.[ f.j. matthews agent], buildings

non-fictionadam lindsay gordon, westminster abbey, 1934, memorial

Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat. The sculpture 'Alan marshall' has been classified as of regional significance by the National Trust of Australia. A realistic depiction (almost life size) of Alan Marshall cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. alan marshall, bronze, skipper, i can jump puddles, eltham library, novalist, ekphrasis2017, figure, public art

Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize.

Eclectic collection of newspaper clippings from around 1906 to 1908, including original cuttings about the wreck of the Falls of Halladale, obituary of a young family member and other notable locals, and various poems and articles. Mentions C Felstead, Golfer and Australian Open Champion and Obituary of Mr Thomas Shaw of Wooriwyrite. Some articles appear to be from 1882 but may just be reprints.Local resident's collection of articles which took his interest around 1906 to 1908Scrapbook made using a catalogue for Lancaster Window Blinds - Bordered. Newspaper clippings are pasted over printed patterns of window blinds available in 1905. Compiled by W. H IrvineName J. S. Irvine handwritten on the front and different name inscribed on the first page: W.H Irvine, Bayof Islands, Peterboroughpeterborough, bay of islands, window blind patterns, falls of halladale, c. felstead, thomas shaw, j. s. irvine, w. h. irvine, scrapbooks

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

Address: "Japanese Technical Demonstation: June 1977 "- Mr J C Young.Address: "Japanese Technical Demonstation: June 1977 "- Mr J C Young.woolclassing - objective measurement wool marketing wool - measurement wool sales sheep stations - management, australian wool corporation, wool clip preparation, woolclassing - objective measurement, wool marketing, wool - measurement, wool sales, sheep stations - management

Part of the "Squatter" game archivePaul Michaelsheep stations - management wool growing squatters, young farmers of victoria, lloyd, mr robert, gnaraloo station, wetern australia, sheep stations - management, wool growing, squatters

Slovenian Club Melbourne participated many times at the Royal Melbourne Show with the musicians, dancers, folk dances, art and craft exhibitions. They were always warmly welcomed.The second Slovenian children of the first generations keeping up the traditionsColour photo of the large decorative heart with the Slovenian children in national costumes and boys playing piano accordions at the Royal Melbourne Show. The children are:Young generation of Slovenians, born in Australia, keeping the Slovenian traditionsslovenian traditions, slovenian national costume, slovenian music, slovenian polka

The first Emerging Writers’ Festival was held at the Victoria Hotel in Little Collins Street in January, 2004. The inaugural festival developed out of Express Media's Make It Up zine fair. It brought together the offerings of 68 writers from across Australia in a two-day series of panels, readings, performances and workshops. Express Media ‘s Artistic Director Richard Watts was the driving force behind the ground breaking initiative that was to become the Emerging Writers’ Festival. It was clear to him through the success and the demand of the Make It Up zine fair, which had its origins in 2000, that writing and writers were in the process of radical change and needed a new environment to grow. In response, Express Media formed a partnership with the Victorian Writers’ Centre and held the first Emerging Writers’ Festival with the tagline, the best Australian writers you haven’t heard of yet. The beginnings were humble but the foundations strong. In those early years the festival found its feet, its independence and a loyal and passionate audience.An eight page, stapled program for the 2004 Emerging Writers' Festival printed in black, white and three shades of orange."Featuring the best Australian writers / you haven't heard of (yet) including new, young and / emerging poets, zinesters, short story / writers, spoken word performers, novelists, / screenplay writers / and playwrights, and a range of panels, / readings, workshops as well as an / independent publishers' trade fair."2004 emerging writers' festival, richard watts, express media, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne

All the invitations are for the celebrations in Melbourne connected with the opening of the Parliament of the Commonwealth of Australia, on the 9th of May 1901. The Duke and Duchess of Cornwall and York were to be present.An invitation to witness the opening of the Parliament of the Commonwealth on 9th May 1901. The card has a coloured illustration Kipling's Commonwealth Ode "The Young Queen", and includes the shields of the Australian and British flag.rippon lea

This book was produced by Patons and Baldwins and contains knitting patterns for young childrens garments.PATONS / PATONYLE, 3 and 4 Ply . BEEHIVE Fg., 3 and 4 Ply . HIGHLAND SPORTS / BLUEBELL . SWIFTAKNIT . CAIRN . AZALEA . CATKIN . TOTEM . DOUBLE QUICK / No. 545 / Patons / KNITTING BOOK / No. 545 / FROM 2 TO 6 YEARS / 2'-handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting

This book was produced by Patons and Baldwins and contains knitting patterns for adults and young childrens knitted garments.Featuring PATONS NYLETTE CREPE YARN No. 551 / Patons / KNITTING BOOK / No. 551 / 2'-handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting

This book was produced by Patons and Baldwins and contains knitting patterns for adults and young childrens knitted garments.Featuring PATONS 100% TURBO ORLON* No. 552 / Patons / KNITTING BOOK / No. 552 / 2'-handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting

This book and a number of others like it were owned by the mother and aunts of the donor, Mrs Dorothy Boyle. They were prolific producers of hand knitted and hand made items of clothing and also knitted and sewed for the armed forces during the Second World War. This book was produced by Patons and Baldwins and contains knitted patterns for garments for young boys.Patons KNITTING BOOK NO. 366 / P&B / WOOLS / 1'6d.knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Patons and Baldwins and contains knitting patterns for young girls.Patons Knitting Book / No. 166 / "LORRAINE' / See page 15 / A Patons & Baldwins' Publication - 7D.handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting