1 wooden boomerang shaped shield with engraved silver plates and bronze coloured man holding an image of a female lawn bowls player The central large silver plate is edged with wreaths and inscribed "Presented by E. & N. Maxwell 1976" and a long silver plate banner with "V.B.L.B.C. Most Improved Player" surrounded by multiple small silver shields with the names of individuals and the year that they won the award. A bronze coloured figure stands in front of the banner, holding a black, silver and green coloured picture of a female lawn bowls player taking a shot whilst two others look on. The smaller shields are engraved with the following: 76-77 Edna Wratten, 77-78 Michael McGuire, 78-79 Colin Johnson, 79-80 Mrs H. Conroy, 80-81 Mr L. Tester, 81-82 R. Teague, 82-83 H. Eustace, 83-84 Kate Smith, 84-85 George Hardham, 85-86 Laurie Hoskins, 86-87 Bill Martin, 87-88 Frank Bartoli, 88-89 Clarrie Greening, 89-90 Ron Jones, 90-91 Jean Moore, 1991-92 Marjorie Goodall. Digital Image of wooden trophySee descriptionroyal victorian institute for the blind, nameplates

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. It was the official commemorative document of the occasion. The Queen lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01190).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190)Booklet x 12 pages with sepia photos and brown text in a cream card cover for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. The Queen laid a wreath and lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Cream paper program with blue print, single page folded in half, order of service for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#40 3 News from the Register 4 Unique artworks by Melbourne “re-emerging “ artist. Veronica Caven Aldous 5 Art among the guntrees – an unusual gallery at Tanja Kerry-Anne Cousins 6 Karen Ferguson’s Pear Tree (memento mori) Penny Peckham 7 Plus, Loris Button, Sally Miller & Maryanne Coutts Dr Nola Stratford 9 Women’s Suffrage in Victoria – Exhibition Margaret Gurney, A bare and beautiful exhibition 10 Art and Healing, paintings by Rosemary Mangiamele- Julianne Lewis 11 Sufferance: women’s artists’ books State Library of Queensland 12 Wise Reflections Dr Alison Richardson 14 Give up today… Naomie Sunner 15 Opportunities 17 Back issues 19 Membership details veronica caven aldous, kerry-anne cousins, karen ferguson, penny peckham, loris button, sally miller, maryanne coutts, dr nola stratford, margaret gurney, rosemary mangiamele, sufferance: women’s artists’ books state library of queensland, dr alison richardson, naomie sunner

The Coat of Arms, represents Brighton City Council's "growing awareness of the importance of formality and correct symbolism in local government". It replaced the council's crest of a pier and yachting scene and was used as council's seal, and emblem on its flag and letterhead. The new Coat of Arms, drawn up by the College of Arms in England, depicts the progression from a seaside gardening community to a modern residential city. The prominent forms are on the shield-like coat of arms include waves and a Lymphad (a ship, symbolic of the sea); a market gardener; an aboriginal man; two horns plenty with abundant fruit and vegetables (the wealth and plenty) and Elster Creek. It is underscored by the motto 'By their fruits, ye shall know them'. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.Ink and gouache on parchment with wax seals. Allocates a Coat of Arms to the City of Brighton, by the College of Arms in London on 08/09/1970. The Coat of Arms is located on the upper left quadrant and has the following parts: the crest, the wreath, the helmet and mantle, the shield, the supporters, the compartment and the motto. The crest is two cornucopias with fruits and vegetables, above which sits a seagull. The mantle above the helmet is in green and gold. The shield is also green and gold with a lymphad (ship), and blue and white waves, representing the sea. The market gardener, holding a hoe, and Aboriginal figure, bearing a boomerang, support the shield and stand upon the compartment which is soil with a representation of Elster Creek. A ribbon below contains the motto in 'FRUCTU NOSCITUR'. The certificate text explains the origins of Brighton and the parts of the coat of arms. At the bottom of the folded parchment are three signatures and titles, below which three red wax seals in gold tin containers hang from blue ribbons.coat of arms, certificate, city of brighton, college of arms, market gardener, aboriginal, wax seal, elster creek, lymphad, fructu noscitur, letters patent, armorial bearings, heraldry, seal

Robin Boyd most likely saw Solstar at Asher Bilu's exhibition at South Yarra Gallery in September 1968. In November 1968, Robin Boyd arranged for the loan of this painting from South Yarra Gallery to Australian Pavilion at Expo '70 in Osaka, where Boyd was appointed Exhibit Architect. It hung in the bedroom over a bed, containing a life-size cut-out figure by Bruce Petty, in the Model House Interior exhibit on modern living in the Space Tube. On its return from Expo, the painting was in transit at the Boyd's home in Walsh Street and they liked it so much that they decided to buy it. Solstar originally hung on the wall at the end of the galley kitchen. The artwork at the Boyd's home in Walsh St has been moved several times over the years. Solstar now hangs above the dining table, but at the time of Solstar's acquisition, the Boyds hung the painting "Winter Triumphant" (1920) by Penleigh Boyd, Robin Boyd’s father, above the dining table. In early 2021, Asher and Luba Bilu visited Walsh St to view Solstar again. Asher was extremely happy with how the painting looked and its condition 53 years after painting it. He requested it be hung a little higher and he returned in April to make some minor restorations to remove scratches. Silver mixed media with large black circular area in the central lower half. On reverse has the title: Solstar/A. Bilu/Arrow showing which way up. Unsigned on the front.asher bilu, penleigh boyd, expo 70, osaka, robin boyd, south yarra gallery, walsh st artwork, ohm2022, ohm2022_13

Charles Steedman was headmaster of Williamstown Grammar School from 1870-76 and 1885-90. In 1870, under agreement with school trustees, Sir George Verdon and John Courtis, he leased the school under a seven-year lease, effectively saving it from closure. Steedman had previously been manager of Sandridge Baths and a champion swimmer of Victoria. His 1867 book, 'Manual of Swimming', was the first major technical contribution to the sport of speed swimming and water safety, for which Steedman was inducted into the Sport Australia Hall of Fame in 2006. As headmaster of Williamstown Grammar, Steedman initiated a student produced school paper called 'The Schoolboy' (surviving editions can be accessed at the State Library of Victoria), added swimming lessons to the curriculum and opened enrolment to girls in 1885. The book contains nine illustration plates featuring line drawings of a human figure in the positions detailed by Steedman in his text. These drawings are attributed to O.R. Campbell. Oswald Rose Campbell is best known for his appointment (1876-1886) as drawing master of the School of Design, a department of the Public Library, Museums and National Gallery of Victoria. He taught (and famously disagreed with) the likes of celebrated Australian artists, Tom Roberts and Frederick McCubbin. O.R Campbell taught drawing and painting at Williamstown Grammar in the early 1870s.The book holds historic significance for Westbourne Grammar School, having been written by a former headmaster and very important figure in the history of the school. It evokes our early history as an emerging grammar school with links to prominent athletes, artists and gentry of colonial Melbourne. Blue cloth covered case-bound book, with debossed decorative scrollwork in each corner and in the centre of front cover, and gilt lettering on the spine. 270 numbered pages, nine illustration plates (one adjacent to title page, eight as end pages).On title page, handwritten inscriptions in brown coloured ink. Possibly ‘Joshua Saggs Esq. / With the authors compliments’ and below, in different handwriting and darker ink, ‘To dear Flossie from Grandma 1901’. williamstown, sandridge baths, swimming, colonial melbourne, art, williamstown grammar

Queenscliff’s first pier, then known as the Fishermen’s Pier, was completed in 1857. It was not until some thirty years later that the second Steamer Pier was constructed adjacent to the former and periodically extended from the mid to late 1880s to cope with the demand in pleasure bay steamer services. The last of these extensions was to provide a dog-leg construction and the extant shelter shed. 1960 witnessed the demolition of the original Fishermen’s Pier - by this time having been extended in the late nineteenth and early twentieth centuries to the equivalent length of the Steamer Pier - and saw the relocation of its 1926-29 lifeboat house to the Steamer Pier, now Queenscliff Pier. The mid to late 2000s saw Queenscliff Harbour undergo large-scale redevelopment in order to deepen its waters for pleasure craft and increase its berths to over 300. This was met with strong community opposition, largely with concerns for neighbourhood character and perceived cause for gentrification its stakeholders would impart. With early construction estimates of $20 million dollars, this figure had almost doubled upon realisation. (Lovell Chen Architects. ‘Individual Property Citation’, Queenscliffe Heritage Study, 2009.) (Freya Mitchell, ‘Queenscliff residents fight a tide of development sweeping the historic town’ ABC radio, 15 April 2005).Fishermen's Pier Watercolour painting of Fishermen's Pier in Queenscliffwatercolour, fishermen's pier, queenscliff

'There are also a number of framed portraits, including those of...Dr. John Wilkinson, a doctor who started a practise in Bright in the late 1880's and helped develop the tourist potential of the Mount Buffalo Plateau. " (Pg 84, Historica, 2011) Dr John .F. Wilkinson was a significant figure in the pioneering of tourism at Mt Buffalo. A Doctor and resident of Bright, he and W.A. Staker were the founder members of the Bright Alpine Club formed in 1887 to promote the natural attractions of the Buffalo plateau. " They form the Alpine Club and charge a membership fee for guiding people up the mountain (led by official guides Bill Weston and Edward Carlisle). this is matched by a grant from the local shire council.... They advertise in the Argus and promote the Australian Alps, Bright district as "The Switzerland of Victoria'. Mt Buffalo, with the railways nearby, is the most accessible snowfield and becomes 'the cradle of skiing in Victoria'." (Pg 179 Historica . 2011) The initial funds raised by the Alpine club funded the Staker's walking track, the first easily accessible route up the mountain. . They engaged the services of early Victorian photographer Nicholas Caire, whose scenic photographs helped to promote the beauty of the mountain. The efforts of these gentlemen culminated in securing 2.800 acres for the one of the first National Parks in Victoria, 1898. Listed in Draft Inventory of significant Items. Framed sepia photograph. Grey mount in wooden frame. Portrait of Dr.J.F Wilkinson. Brass name plaque at base of frame. Hand finished / highlighted in places." DR J.F.WILKINSON"

Photos of Legatee Grat Grattan being presented with a 50 years of service certificate from President Chas Wilks in 1989. L/ Grattan was a long serving legatee, an article written when he turned 100 says that as a Legatee he was widely respected, he was 'something of a father figure - many of the girls were given away at their weddings by this kindly Legatee'. The article says Oriel John Grattan was born in WA and enlisted in the First AIF in 1916. He served in France and Belgium before he was wounded near Menin Gate. It continues with an interesting piece on the acquisition of Legacy house. It says: 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944 (amount was 27,059 pounds according to Dureau Act).' A condition of the donation was that Legacy had only eight days in which to buy a building. A building in Swanston St was purchased for 18,000 pounds and the balance invested. But vacant possession was not possible and the building was sold in the early '50s and became part of the Royal Melbourne Institute of Technology. The proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955.A record of a Legatee Grattan's long service at Legacy being commemorated with a 50 years service certificate in 1989.Colour photo x 2 of Legatee Grat Grattan receiving a 50 year service certificate and a yellow paper label.legatee, recognition, grat grattan

A Legatee Grat Grattan with the President of the Melbourne Legacy Widows Club, Mrs Irene Noll, on the occasion of his 100th birthday celebrations at Legacy House. This photo was used in a newspaper article in 'Vetaffairs' October 1994. The article says Oriel John Grattan was born in WA and enlisted in the First AIF in 1916. He served in France and Belgium before he was wounded near Menin Gate. As a Legatee he was widely respected, he was 'something of a father figure - many of the girls were given away at their weddings by this kindly Legatee'. It continues with an interesting piece on the acquisition of Legacy house. It says: 'Perhaps his most lasting monument is Melbourne Legacy House. Through his friendship with one of the principals of the firm, Brown and Dureau, Legacy was given a donation of 30,000 pounds in 1944. A condition of the donation was that Legacy had only eight days in which to buy a building. A building across the road from the Royal Melbourne Institute of Technology was bought for 18,000 pounds and the balance invested. The building was sold in the early '50s and the proceeds plus the invested money enabled Legacy to buy its headquarters, Dureau House, in Swanston Street in 1955." Vetaffairs is a newspaper for the veteran community published monthly. The entire 8 page issue is kept but only the Grattan article has been scanned here.A record of a Legatee Grattans' achievements, both in the army and in later life and the impact he had on Legacy.Colour photo x 3 of Legatee Grat Grattan for his 100th birthday and article from Vetaffairs.Printed on the back "128 0133 N N N 2 2" on Kodak paper. legatee, birthday, grat grattan, dureau house

Paper with list of names of businesses and individuals with a two figure number, possible quick phone numbers. Names are: City Office, Dalgety, Elders, Hill & Co, McGregor, M & J, McKean, Nevins, Nuttall, Rodwell, Vains, V.P.C., Noel Keogh, A.L.B., Borthwicks (Melb), Borthwicks (Portland), Crimmins, Gath (Melb), Gilby, P Harris, Herds, Heinz, Llewellyn, La Franchi, McKenna, McKibbins, O'Sullivans, O'Connell, Penny & Lang, R Plant, Rutlands, Midfield, Jeff Wright, Seigel, Somerville, Eddy Smith, Meat Exports, J Truscott, Talbots, Talbots, Western Dist, Wignalls, Frank Belot, D'ford Ab's, Hardwicks, riverland, G Watson, Ferntree Gully, Gath (Tat), Gath (Wang), Largo, Wagstaff, Ralph, Pertunia Factory, Ambulance, Police, Fire Brigade, Rob Huntington, Fleece Inn, K & J Moss, Newmarket, Dept of Ag and Abbotts Supplies, It has sticky tape along the top and an extra piece of paper is sticky taped to the right hand side.bendigo, council, cattle markets, bendigo saleyards collection - phone numbers?, city office, dalgety, elders, hill & co, mcgregor, m & j, mckean, nevins, nuttall, rodwell, vains, v.p.c., noel keogh, a.l.b., borthwicks (melb), borthwicks (portland), crimmins, gath (melb), gilby, p harris, herds, heinz, llewellyn, la franchi, mckenna, mckibbins, o'sullivans, o'connell, penny & lang, r plant, rutlands, midfield, jeff wright, seigel, somerville, eddy smith, meat exports, j truscott, talbots, talbots, western dist, wignalls, frank belot, d'ford ab's, hardwicks, riverland, g watson, ferntree gully, gath (tat), gath (wang), largo, wagstaff, ralph, pertunia factory, ambulance, police, fire brigade, rob huntington, fleece inn, k & j moss, newmarket, dept of ag, abbotts supplies

For this series please refer to Cat No's 9546.7, 9547.4, 9548.4, 9548.5. Items in the collection of "William John Sullivan", VX 57829. Refer Cat No. 9523P for his service details.1 - 7. Hard cover books with dust covers. All pages cut, plain white paper. Illustrated in black and white and colour photographs, painting, maps, sketches and diagrams. All end papers are illustrated. 1. "ACTIVE SERVICE", 1941, green buckram, black print font and spine. Silhouette illustration of a soldier in uniform. Dust cover - white colour print, front and spine illustration sculptured figure of soldier on yellow/green colour background 129 pages. 2. '"SOLDIERING ON", 1942, Green buckram, black print front and spine. Illustration "Rising Sun Badge". Dust cover - white colour print, front and spine. Illustration Black and White sketch of soldiers in action, mustard colour background. 200 pages. 3. "KHAKI AND GREEN" 1943. Green buckram, dark blue colour print front and spine. Dust cover brown and white colour print front and spine. Green and brown colour background, 204 pages. 4. '"JUNGLE WARFARE" 1944. Green buckram, dark blue print front and spine. Illustrated - small sketch of a soldier. Dust cover, white colour print, front, spine. Illustrated green, orange and white two soldiers at rest. 200 pages. 5. "STAND EASY" 1945. Teal buckram, dark blue colour print, front and spine. Illustrated soldier with hands in the air. Dust cover - red colour print front and spine. Illustrated colour sketch of a soldier holding globe of the world, beige background, Back - photograph of Australian War Memorial in Canberra. 208 pages. 6. "ON GUARD" 1944. Green buckram, black colour print front and spine. Illustrated black ink sketch drawing of a soldier. light green background. 172 pages. 7. '"SIGNALS", Green buckram, dark blue print front and spine. Illustrated AUSTRALIAN CORPS OF SIGNALS CREST. Dust cover - white and purple print on front and spine. Illustrated purple figure on globe. 196 pages. book series, aif, ww2, william john sullivan

Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. This is an Occupational Health and Safety Course for RAAF Hygiene Inspectors developed by the Faculty of Engineering at Ballarat College of Advanced Education. "The overall objective of the course is to provide delegates with the basic knowledge and approaches to enable them to diagnose and solve problems in health and safety." The conceptual framework is set out in Figure 1. The detailed syllabus is set out in behavioural objectives. The course goes over five weeks with detailed timetable provided.A4 size booklet with yellow cover. (Staples removed from left edge). 19 pages, timetable pages yellow.viosh, victorian institute of occupational safety and health, raaf hygiene inspectors, ballarat college of advanced education, faculty of engineering, occupational health and safety, diagnose and solve problems

This political cartoon depicts a black and white drawing; “General Depression”, a large ugly man wearing a German pike helmut, representing the Great Depression which Australians suffered from 1929 through the 1930s with a period of high unemployment, poverty, low profits, deflation, plunging incomes, and lost opportunities for economic growth and personal advancement. This figure overshadows a small man, representing Prime Minster James Scullin with a suitcase labelled “Jim S, London to Australia”. This is a reference to the PM’s decision to travel to London to seek an emergency loan and to attend the Imperial Conference (a meeting of Prime Ministers of the British Empire) He is holding a sling shot. The image has a “David and Goliath theme” denoting Australia as the underdog, a contest where a smaller, weaker opponent faces a much bigger, stronger adversary. The artist Percy Leason (1889 - 1959) was a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. He lived in Eltham at his property 'Landscape' which he built in New Street (present day Lavender Park Road) from about 1924 to 1938 when he moved to the USA. In 1931 his cartoons were published in the Melbourne magazine “Table Talk” (although it cannot be confirmed that this one was). The original source of this image for the SEPP collection was the Publisher Thomas Nelson based in Melbourne. This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image and 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, percy leason, depression, cartoon, comic, james scullin, david and goliath, drawing, political cartoon

In 1919, Australian schoolchildren received a special commemorative medal to mark the end of World War I. This medal, known as the “Peace of 1919” medallion, was issued by the Defence Department and distributed to schoolchildren throughout Australia. The medallion is circular with a plain edge and an integral suspension loop. On the obverse side, it features a symbolic female figure of Peace, holding a sword and standing on a plinth marked “PEACE 1919.” A dove flies behind her, and two figures freed from shackles are at her feet. The reverse side showcases a central panel surrounded by laurel leaves, topped by the King’s Crown with the word “VICTORY” over rays of the rising sun. A sailor and a digger stand at ease on either side of the panel, which bears the inscription “THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE.” Below the leaves, a small panel displays the words “THE PEACE OF 1919” and the manufacturer’s name. The medallion was issued to commemorate the signing of the Versailles Peace Treaty in 1919, which officially ended World War I. Originally, the medals were suspended from a narrow piece of red, white, and blue striped cotton ribbon. This medallion served as a reminder to a generation of the service and sacrifice of Australians during the war. It symbolized the achievement of peace, albeit at great cost. Each child in Australia aged 0-14 years (and up to 16 if their parents were in the armed forces) received this small but meaningful token of remembrance12. Small medallion with faded red, white and blue ribbon with pin. Female on the front. Wreath on back with two males either side with uniformmedals, 1919, ww1

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. A etching of a man with a man size goose.graeme drendel, printmaking, goose, fauna

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with pig. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying a calf. graeme drendel, printmaking, calf, cow

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying two milk buckets.graeme drendel, printmaking, bucket, milk, farmer

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. graeme drendel, printmaking

The newsletter from December 1952. It featured the Governor of Victoria Sir Dallas Brookes on the cover. There was an article about the 1952 Demonstration including 4 photos. There had been a scene with Father Christmas called 'Toymaker's dream' with toy soldiers, dancing dolls, Chinese dolls with shiny hats and golliwogs. Other items included 'Totem Tom Tom' with the senior girls dress as native American maidens. They also performed 'Good Queen Bess' in elaborate costumes with Linda Bulllivant playing the lead. Also the fantasy on the Grieg Concerto, which was a graceful ballet. Juniors and intermediates provided 'Anchors aweigh' with 'mopping the decks,' and 'flag dance' with each girl holding two Union Jacks. With figure marching and Sailors' Hornpipe as well. There was an article about a career in the police force. Also news from the boys' groups and Intermediate Legacy (ILC). A newsletter published by Legacy in this format for many years from 1942. It mentions "Issued from time to time for Private Circulation among the Sons and Daughters of Deceased Service men and Merchant Seamen who served their Country during the War of 1914-18, or the present War". Many articles on the work of Legacy, including features on boys classes, girls classes, camps, the residences and where their past residents ended up. There are some suggestion for careers and some general interest articles. Some very interesting photos.Newsletter outlining news of Junior Legatee activities.Black and white printed newsletter x 8 pages from December 1952. Volume 5 Number 3.boys classes, activities, girls classes, ilc, demonstration, costumes

Carbon copy of a letter to State Savings Bank of Victoria accompanying copy of agreement between the Trustees of the Kooyong Club House and the Association for the Advancement of the Blind, requesting that the same is returned after perusal.1 single sheet of typed paperA female dressed in a loose gown holds a lantern from which the words 'Association', 'Advancement', 'of the Blind' and 'For the' are written in the rays coming from it. Below her feet are the words "Light of the Blind". 'Founded 1895' is written below the lantern, whilst in the top right hand corner is filled with: Homes at Brighton Beach Bendigo Hostels at South Yarra Windsor Offices: MU 4189 118 Queen Street, Melbourne C.1. All communications to be addressed to Secretary. Below the female figure, in the lower left hand side of the page: President: Miss Tilly Aston General Secretary: G.R. Fowler Objects: To promote the welfare of the Blind intellectually, physically and socially. To grant financial assistance in cases of necessity. To provide permanent or convalescent Homes and Hostels of an unsectarian character for the Blind. To visit the Blind.association for the advancement of the blind, kooyong club house

Hubert and Beulah Alice (Simpson) Rutter had five children: Hubert Jnr. (Joe) in 1913, David in 1915, June in 1917, Donald in 1922 and Samuel in 1926. Samuel died as an infant aged 17 days. Hubert was a notable figure in Eltham and beyond, with a career as a mining manager in Australia and Malaya. He served in the AIF in the First World War. While the children were growing up at ‘Yarra Braes’, Eltham, their father was an Eltham Shire Councillor in the 1920s, shire president in 1928 and a leading figure in establishing the Shire of Eltham War Memorial League, which was responsible for building the Shire of Eltham War Memorial tower at Kangaroo Ground, near where the Shire Offices were located until the 1930s. The Rutter name was commemorated after the war at Eltham High School with one of the schoolhouses named ‘Rutter House’ and at Geelong Grammar School until the 1960s where a ‘Rutter Badge’ was awarded to junior boys for leadership. The family home, ‘Yarra Braes’ was destroyed in the devasting Black Friday bushfire, 13 January 1939 and Beulah relocated to Toorak, Hubert working in Western Australia. Tragedy struck the family again December 19, 1940 when daughter June was killed after falling from the Heidelberg train on to an adjacent track into the path of a Reservoir train at Victoria Park station. Sons David and Donald both served in the R.A.A.F. during the Second World War and were killed in action, David in Libya in 1941 and Donald in Germany in 1945. The wreck of his plane and his body were not recovered at the time and Hubert never ceased to chase down leads as to his whereabouts. Beulah never gave up hope that Donald was still alive. Hubert had received several reports shortly after the war that his son was still alive but these were ultimately accepted as misidentification. Such was the anguish of the grieving parents, their son’s plane not found to confirm the fact for certain. Hubert wrote to the Air Force in frustration, failing to understand how the plane could disappear when it crashed in a relatively populated area. Unfortunately the answers came too late for Beulah who died in 1946 and was buried in Eltham Cemetery along with her daughter June and baby Samuel. Donald’s plane was eventually located and his body recovered in 1949. He is buried in the Hanover War Cemetery, Germany. David is commemorated on Column 245, Alamein Memorial, Egypt. Both David and Donald are commemorated on Eltham’s Roll of Honour Board, commissioned by the Eltham War Memorial Trust to be hung in the Baby Health Centre, part of the Eltham War Memorial building precinct. Hubert Senior and Hubert Junior both continued to work in the mining industry in Western Australia. Hubert senior died 1957 at Plantagenet Western Australia and Hubert junior in 1979 at Gascoyne, Western Australia. Sacred to the memory of Beulah AliceBeloved wife of Hubert Rutter Died August 21st 1946 also June Beloved daughter of Beulah and Hubert Rutter Died 19th December 1940 aged 23 years Also her baby brother Samuel Died 7th October 1926, aged 17 daysBorn Digitaleltham cemetery, gravestones, beulah alice rutter, hubert rutter, june rutter, samuel rutter

Henry Box ,who was born in Withyham in 1839 , was the 3rd son of George and Mary Cripps Box and came to Australia in 1856 with the family. Henry paid his own fare so was not ‘bound’ to any employer. Henry helped his brother William establish his market garden on the site of Box Cottage, Jasper Road 1865 and by 1970 was purchasing property in East Brighton (Bentleigh.). He continued to purchase land, which he rent / leased to family members, and at his death owned property in East Boundary Road, Murrumbeena and Elsternwick. Henry married Elizabeth ‘Emma’ Ward in 1868 and they had 9 children but 2 died in infancy. ‘ Emma’ was the daughter of William Ward 1820- 1908 who was born in Norfolk and emigrated with his wife Ann Ostler in 1853. William Ward JP was a prominent figure in East Brighton . William was elected to the Moorabbin Road Board in 1863, JP at Cheltenham Court, and Shire President 1875-82. He was appointed Post Master at East Brighton in 1865 and held the position until his death in 1908 Henry was a member of the Court Pride of St George AOF, and a lay preacher at the Bentleigh Baptist Church.. Surviving Children were - Caroline Alma Box 1863-1943, Mary Anne Box 1865- ?, Lydia Elizabeth Box 1867- 1957, William Henry Box 1869- 1945, Emma Elizabeth Ellen Box 1875 – 1964, Olivia Christina ‘Chrissie’ Box 1878 – 1963, Archibald Ward Box 1882 -? Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who with his wife Elizabeth Avis Box and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 . Henry Box, a brother of William Box, was born in Withyham, Sussex and came to Australia with his parents George and Mary Box and siblings in 1856. He purchased property and helped the family establish market gardens in East Brighton (Bentleigh). Henry and his wife Elizabeth Emma Ward Box had 9 children, Henry was a lay preacher for the Baptist Church Bentleigh. Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of a young woman who may be Elizabeth Emma Ward 1863 - 1921,the wife of Henry Box.1839-1913Stewart & Co ' Coat of Arms" Melbourne