This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections, bubble in glass. Bottle has foul smelling contents inside. Mouth has hard capped cork seal with black, hard rubber capped stopper. Side of mouth has ship or mark. Tooled cork-top finish with ring below, slightly bulged neck. Shoulder has some diagonal creases and a line where shoulder meets body. Body tapers inwards to base. Heel varies in width. Base is uneven. Pushed up base has pontil mark. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle

Book non-fictionTraces the social, educational, and psychological barriers for women artists from the Middle Ages to the early 19th century to gain recognition, most relying on relationships with artists in their families to gain success. or conversely denied success through partnerships with male painters. portraiture, flowerpainting, miniaturists, still life

The Joly meldometer was created to determine the melting point of minerals. W.E. Wilson, an astronomer and author, stated in 1900 that the Joly meldometer consisted of a ‘a strip of platinum on which minute fragments of any mineral can be placed, while any alteration in its length can be determined by means of a micrometer screw which touches a lever connected with one end of the strip. The strip can be heated by an electric current, and is calibrated by observing the micrometer readings corresponding to the temperatures at which some substances of known melting-points melt’i . One reason why the Joly meldometer was seen as a successful addition to science was the small amount of any substance that it required for testing. Only a minute sample was needed for the instrument to work and so a tiny part could be taken from a delicate item without destroying itii . The instrument was originally manufactured by the Irish company Yeates & Son of Dublin. The Yeates family business was established in the early 1790’s and is thought to have operated until approximately 1922iii . Their business slogan was recorded as ‘Instrument makers to the University’, a slogan which proudly exhibited their relationship with Trinity College, Dublin. The company was located directly opposite Trinity College, the place where the Joly meldometer was created. Working in such close proximity must have assisted this business relationship. The inventor of this meldometer was Irishman John Joly. Joly was born in 1857 at the Church of Ireland Rectory, Hollywood House. His education led him to Trinity College Dublin where, by 1891, he had obtained a Bachelor of Engineering degree as well as a Doctorate of Science. The entirety of his working life appears to have taken place at Trinity College although he is known to have travelled in order to consult with other scientists such as the world renowned Sir Ernest Rutherford. The Joly meldometer was used for a variety of different purposes, with scientists often adapting the instrument to suit their own needs. For instance, the previously mentioned astronomer W.E. Wilson adapted the meldometer to assist him in measuring the radiation of the suniv . Joly used his device in an attempt to ascertain the age of the earth. In 1913, along with Sir Rutherford, Joly came to the conclusion that the earth was approximately 400 million years old. They did this by analysing the decay of radioactivity in minerals. According to our present knowledge of the earth this was a much more accurate date than the dates Joly had previously derived. He had first thought that the earth was 97 million years old due to the volume of sodium in the oceans. Joly’s second analysis of the topic had resulted in the age of 80 million years. This figure was based on the accumulation of sediment. Apart from designing his meldometer, Joly is also remembered for his work with colour photography. In 1894 Joly discovered a method for creating colour photographs from a single platev . He also studied the use of radiation as a treatment for cancer and persuaded the Royal Dublin Society to establish the Radium Institute to assist hospitals. In 1933 Joly passed away at the age of seventy-six.

The Queen's relationship with the Armed Forces began when, as Princess Elizabeth, she joined the Auxiliary Territorial Service (ATS) in 1945, becoming the first female member of the Royal Family to join the Armed Services as a full-time active member. During her time in the ATS, the Princess learnt to drive and to maintain vehicles The Queen has a long and close relationship with the Armed Forces, both in the United Kingdom and in the Commonwealth. As Sovereign, The Queen is Head of the Armed Forces, and is also the wife, mother and grandmother of individuals having served in the Forces.Brown ridged timber frame containing print of lady wearing evening dress and a tiara standing beside floral display on pedestal table.Her Majesty Queen Elizabeth II queen elizabeth ii, armed forces

The Queen's relationship with the Armed Forces began when, as Princess Elizabeth, she joined the Auxiliary Territorial Service (ATS) in 1945, becoming the first female member of the Royal Family to join the Armed Services as a full-time active member. During her time in the ATS, the Princess learnt to drive and to maintain vehicles The Queen has a long and close relationship with the Armed Forces, both in the United Kingdom and in the Commonwealth. As Sovereign, The Queen is Head of the Armed Forces, and is also the wife, mother and grandmother of individuals having served in the Forces.Light brown timber and gold gilt inner edge frame containing print of lady wearing evening dress with diamond and ruby tiaraHer Majesty Queen Elizabeth II Plaque - Present to Wangaratta RSL by Ken S Jasper MLA 31-8-79queen elizabeth ii, auxiliary territorial service, ww2

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

The author is an Aboriginal woman, descendant of a family of long and continuous association with the south-east region of South Australia. This book attempts to overcome some of the difficulties in colonial relationships of the past to piece together the history of the Aboriginal people who survived in this area.maps, b&w photographssouth australian history

This photograph of Slawa and her sister was taken a few months before Slawa and baby Eva left Vienna, in December 1938. They joined Karl in Switzerland. After leaving Europe, she did not see her sister again for 30 years – years which are documented in the many letters held by the Studio, sent over this time. In 1968 Slawa and Rella met one more time in Paris.This photograph documents the important relationship between Slawa Horowitz-Duldig and her sister Rella Horowitz, later Laisne. Rella assisted Slawa in the process of developing her invention of the modern foldable umbrella, and hid the family's artworks and furniture, designed by Slawa and the firm of Sigmund Jaray, in her apartment in Paris during the Second World War. It is of historical significance as it documents life in Vienna prior to the Second World War.

Mrs Edith Green & her late husband ran the horse-drawn cab service that once operated from Vermont to Mitcham Station. 5 generations pictured of her family indicating information of their relationships.Mrs Edith Green & her late husband ran the horse-drawn cab service that once operated from Vermont to Mitcham Station. green, edith, horse drawn vehicles

This is a study of Melbourne Legacy by the author William Paul Healy, from April 1973 to March 1975. The author was interested because of the reputation gained by Legacy over the preceding 50 years, for successfully delivering welfare services by volunteers to widows and their dependant children. The aim of the study was to describe, analyse, explain and evaluate the work of Legacy. This has been done at great length and in summary the great value of Legacy is in the continuity of a Legatee with the one family i.e. the legatee maintained contact with the family through school, beginning work/university and other milestones in the life of a dependant family. It was thought that families in receipt of Legacy services functioned at a higher level than those who do not receive such services.Significant in that Legacy was seen as providing a high quality service. Some of the effectiveness seems to derive from the ease at which the legatee is able to establish a relationship with the family.White A4 paper pages with black type x 186 pages held together by two large bulldog clips. Some notations in pencil in the margins.objectives, goals, activities

Yields information about the griding of wheels at the tram depot following the installation of a grinder by the SEC during the mid 1930's. Shows the nature of the work and set up.Black and White photograph, of the SEC Ballarat depot wheel grinder being used to grind the wheels of a single truck tramcar. Shows a pit man/machinist using the equipment with the drive belts and wheels moving. The machinist is dressed in heavy clothing. Shows the detail of the operation. Date unknown - possibly late 1930's after installation. See Reg Item 1352* and 1353* for photos of the construction of the pits and the installation of the equipment.\ Man identified as Mr Vin Dalton See btm3400doc.pdf for background to the donor and relationship to Reg Item 3806 - Vin Dalton. Record updated 24/6/2014 for information that appeared in the June 2014 issue of Fares Please! See btm3806doc1.pdf for letter from family dated 20/7/14 with a donation. Record updated 3/8/14. See Keith Kings, The Ballarat Tramways, page 36 and The Golden City and its tramways.tramways, trams, wendouree parade, sec depot, rehabilitation, service pits, wheel grinder

Document, The Moore Family Tree, marriage partner of 7782.92, which includes :- Noyes,Howard, Ashmore, Potter, Hockey. Asmore Family Tree:- Lord, Baradell, Provost, Wells, Baker, Bannister, Smith. Provost Family Tree:- Atkins, Bartlett, Elliot. Henry Ashmore of Chillwell, Geelong, Brother to William, Family Tree:- Lord, Marsh.Henry Ashmore of Jan Juc ( Relationship to William & Henry unknown). Noble, Duffield, Follet.genealogy, family, moore

North Kew, now divided between Kew and Kew East, bordered the Yarra River. As such, it was a region subject to flooding in the Yarra Valley. Development beyond this point (ie Kellett Grove) was limited by the City of Kew's planning regulations. Prior to urban development, the area since European settlement and the first land sales in the district in the 1840s, had been used for dairy farming. Vivid photograph contrasting domestic life and relationships with natural disasters such as the flood of 1934.Small sepia snapshot of two submerged houses belonging to local families in River Avenue, North Kew, during the 1934 floods. The view is presumably from near Kellett Grove looking north towards Fairfield.Verso: COES & HYATTS ROOF / RIVER AVENUE / Stamped: 6414yarra river -- north kew, floods -- yarra valley, floods -- north kew, floods -- 1934, natural disasters -- kew

North Kew, now divided between Kew and Kew East, bordered the Yarra River. As such, it was a region subject to flooding in the Yarra Valley. Development beyond this point (ie Kellett Grove) was limited by the City of Kew's planning regulations. Prior to urban development, the area since European settlement and the first land sales in the district in the 1840s, had been used for dairy farming. Vivid photograph contrasting domestic life and relationships with natural disasters such as the flood of 1934.Small sepia snapshot of the donors grandfather rescuing the family dog's kennel from rising floodwaters at the rear of 8 Kellett Grove, North Kew, .Verso: DAD SECURING NIPPY'S DOG KENNEL / Stamped 6414yarra river -- north kew, floods -- yarra valley, floods -- north kew, floods -- 1934, natural disasters -- kew

Captain Cook's Cottage was dismantled in his village in England and rebuilt in Melbourne's Fitzroy Gardens in the 1930s. Since then it has been an attraction for many visitors although there is little relationship between Captain Cook as he never set foot anywhere in Victoria. The photograph was taken when the children from Bulla Primary School were taken on an excursion to the gardens,A non-digital coloured photograph of a small brick cottage with a tiled roof in a garden setting.school excursions, bulla primary schooil, fitzroy gardens

The interview is one of a series recorded in 2013-2014 to document memories and experiences of the Williamstown Botanic Gardens, surrounding areas and Fearon ReserveA primary source of information on memories of the Gardens and witness to changes in the Gardens over those years. CD and transcript of interview with Ken Speakman. Also present was his daughter, Nola Wilson. His son visited part of the way through the interview. Ken’s family moved to Williamstown in 1918 when he was a baby and he has lived in Williamstown, close to the Gardens since that time. He was a keen lacrosse player, playing on Fearon Reserve. Ken was interviewed for his memories of the Gardens and its relationship to Fearon Reserve. ken speakman, nola wilson, fearon reserve, lacrosse, 1918, bill crowe, william crowe, bird cage, bandstand, ramsay’s café, horses, harry stitt, cannons, aci glassworks, woollen mills, oil refinery, sims cooper, abattoir, mobil, palms, williamstown botanic gardens, hobsons bay city council

Alan Judge Holt (1912-1993), Frederick Sutton Holt (1914-1992) and Raymond James Holt (1918-2000) were the children of Edmund Holt (1881-1945) and Ruby Ellen Sutton (1889-1961). The family had multiple associations with Surrey Hills, in particular the Surrey Hills Methodist Church. Associated homes were in Beatrice Avenue and Broughton Road. Alan Judge Holt became secretary of the Victorian Lands Department and his meticulous research laid the foundations of the SHNCHC. The relationship of Dot to the family needs clarification. The Holt family held many connections with the local Surrey Hills community with Alan Holt's research a valuable part of the Surrey Hills Heritage Collection.A digital copy of a sepia photo with 4 children in a garden setting - Dot, Alan, Ray and Fred Holtchildren, siblings, family portrait

p.429.fictionPortrays the married life of Henrietta Stuart, known as Minette, who married into the French royal family in the mid-seventeenth century. In particular it focuses on her careful diplomatic relationship with her brother Charles II, climaxing in the Treaty of Doverengland - fiction, historical fiction

Brown fabric hardcover book - Eveline's Key-Note by Edith C. Kenyon has an illustration in black. pink and green of two young women sitting on a garden seat with a girl lying on the grass next to them reading. In the background a couple are chatting. The top of the edges of the pages are gold. The Endeavour Library is written at the top in black lettering with the title in yellow underneath. The spine has the title, series and publisher initials at the bottom for The Sunday School Union, The frontispiece has a black and white illustration the same as is on the front cover. and there are five full page black and white illustrations throughout. The chapter heads have an Illuminated style decoration called a vignette. 192p.fictionVictorian fiction with a moral slant for young women about life, growing up and relationships in an English village. family life fiction, religious stories

Cottage thought to belong to family of Adam Lindsay Gordon. The cottage was moved to the Gardens from original place near Craig's Hotel in City centre. Now used as a Craft space and for the Botanikids events. Of historic significance if the relationship with the Gordon family can be proved.Dark digital image of historic cottage; tiff 4.73 MBadam lindsay gordon, cottage

Customs duties were a means of raising revenue between the 1850’s and Federation. They were first introduced by NSW in November 1854 after it was separated from the colony of Victoria three years earlier. J P Hanify was appointed as sub-collector at Belvoir, the official name present day Wodonga at that time. Wodonga Customs House was built near the end of Union Bridge over the Murray River in 1859 Tariffs or customs duties greatly angered residents and it was little wonder the customs officer of the day was always an unpopular man. Tariffs had to be paid on articles such as tobacco, many food items and new clothing that were carried across the Border. The range of items was extended over time, leading to some farmers even swimming their livestock across the river to avoid duties at the Customs house. The levying of duties ended with Federation in 1901. Francis Cobham depicted in this photograph, took up the position of Customs officer in 1867 and remained there until his retirement in 1890. The building was originally a 2 roomed custom house in 1856 but was extended to provide living quarters for the Cobham family while a nearby cottage became the Customs house. The building was moved to a position south of the lagoon in the mid 1980’s and is now a restaurant.This image represents an important stage in the development of colonial relationships and rivalries in Australia.Black and white photograph of Customs officer Francis Cobham in Wodonga c 1860customs house wodonga, albury wodonga border, colonial rivalry victoria /nsw, tariffs

Celebrations for the 80th Anniversary of Legacy were held in the grounds of Government House in 2003. Photos include the President David Ford speaking to the crowd and some of the junior Legatees with disabilities. The note with the photos says: "Legacy's 80th Anniversary Function Over 1200 people recently attended Legacy's 80th Anniversary Function. The sun streaming through the picturesque garden surroundings at Government House contributed to the success of the day. Many of the guests enjoyed catching to the success of the day. Many of the guests enjoyed catching up with friends and acquaintances that go back a long way. Some had not seen each other for decades and there was much excitement renewing old friendships. The guests were entertained by The Royal Australian Navy Jazz Ensemble and the MC was David Mann from Radio 3AW." See also 00989, 00990 and 00992. The President's report that is published with the Annual Report says: "President David Ford said in his address 'Let us all just recognise what a unique and enduring family we belong to. it is based on personal effort and dedication from everyone belonging to it. It has been giving that service for 80 years now and I am confident that it will continue to flourish for as long as support to dependents of departed veterans is required."The Anniversary celebrations were held at Government house due to the close relationship with the Governor of Victoria as patron of Legacy.Colour photo x 13 of 80th Anniversary celebration at Government House and an article in the President's report.Printed on the back

This is a study of Melbourne Legacy by the author William Paul Healy, from April 1973 to March 1975. The author was interested because of the reputation gained by Legacy over the preceding 50 years, for successfully delivering welfare services by volunteers to widows and their dependant children. He titled it 'The Task-Focused Volunteer: An Evaluation of the Work of the Legacy Club of Melbourne'. The aim of the study was to describe, analyse, explain and evaluate the work of Legacy. This has been done at great length and in summary the great value of Legacy is in the continuity of a Legatee with the one family i.e. the legatee maintained contact with the family through school, beginning work/university and other milestones in the life of a dependant family. It was thought that families in receipt of Legacy services functioned at a higher level than those who do not receive such services.Significant in that Legacy was seen as providing a high quality service. Some of the effectiveness seems to derive from the ease at which the legatee is able to establish a relationship with the family.White A4 paper pages with black type x 186 pages held together by two foolscap cardboard leaves.objectives, goals, activities

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Worn by Dame Marie Breen DBE OBE, Federal Senator for Victoria and Brighton resident. A passionate member (and founder) of many community organisations and charities, Marie Freda Breen (nee Chamberlin, 1902-1993) had her first experience of public life when her husband Robert became Mayor of Brighton in 1940. She became involved in the fledgeling Liberal Party, and Robert encouraged her to run for office. Marie because Victoria's first female Federal Senator in 1962. In Parliament, she was a vocal advocate for women and families and supported building a stronger relationship between Australia and Asia. In 1965 she became the first woman to chair a Senate committee. Marie retired from politics in 1968, after Robert was badly injured in a car accident. He died shortly after and she re-dedicated herself to community service, raising funds for UNICEF and serving on the Victorian Consultative Committee on Social Development and the Australian Advisory Council of Elders. In 1959 she was appointed an Officer of the British Empire for her work in the role of State President of the National Council of Women (Victoria) and in 1979 she was appointed Dame Commander of the Order of the British Empire. Marie and Robert had three daughters, one of whom, Jeannette Patrick, was the Liberal Member for Brighton (1976-1985) and Parliamentary Secretary of the Liberal Party, (1979-82).Sleeveless black cotton voile dress printed with large cream and apricot coloured roses. Dropped waist; bias-cut triangular draping applied to back neck; two horizontal bands of black voile inserted into skirt.dame marie breen, 1920s, liberal party of australia, australian senate, politics, robert breen