Lake Bolac Store at the crossroad, owned by Dixon after 1938. This image shows the sign-post at the crossroad intersection and the historic Peppercorn trees planted circa 1910 (pre WW1).lake bolac, dixon, historic peppercorn trees.

A set of 12 photographs of the 'Enterprize Project' showing the different stages of the rebuilding of the historic schooner 'Enterprize' which brought early setters to Victoria from Tasmania in 1834. George Evans who settled in Sunbury was one of the schooner passengers.A coloured photograph of the early stages in the reconstruction of the schooner 'Enterprize'. The ribs of the hull are exposed and some of the boards around the sides of the hull have been fitted. The structure is on a raised scaffold under an open shed. A painted sign 'Enterprize Project' shows details of the project is under a wooden stairway.schnooner 'enterprize', evans, irene, south wharf - melbourne, enterprize project, shire of bulla, george evans collection

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

Displays postcards of the time. Could be hand drawn but unsigned.Significant in that these advertise the Peterborough Hotel. Also that they are an example of humorous correspondence of the time. Two postcard sized drawings affixed to black card. Depicting activities in Peterborough and each displaying a sign for Peterborough Hotel. Postmarked 1935Stamp and postmark visible on each postcard.james irvine ii, peterborough hotel, peterborough historic postcards, historic postcard

Used at Tarndwarncoort by Wendy Dennis and family. Small blue Lambs coat made in Australia, Yellow and white coats made in Australia by ?Goblin? Company in Australia about 35 years ago with rheem material polypropylene. Both Green coats are large sizes (Korean Made) Current Coats used now by Tarndwarncoort are made in China from Nylon material. These coats were decorated by year 12 students at Colac High School for Fashions on the field (no sign of this is visible on the coats. The coats come along with several articles written by Wendy Dennis about her methods of producing coloured wool and growing sheep. A series of photographs are also provided which add to the provenance and significance of the items. Used by the Dennis Family at Tarndwarncoort. Prominent woll growing pastoralist and settler family at the historic Tarndwarncoort homestead. These types of coats are used to protect fine grade and high quality wool while still on the sheep's back. These coats were made in Australia, and while these types of coats are still used, they are now made in China and Korea. 5 small sized lamb coats. shaped to fit a sheep with leg straps or holes in the rear, and joins, shashes and ties at the front. Light Green Dark Green White Yellow Grey letter from Wndy dennis of Tarndwarncoort Article titled 'Breeding Coloured Sheep and using Coloured wool' by Mrs. W. S. Dennis. Article Titled 'Coloured Sheep and Wool: Exploring Their Beauty and Function' by Mrs. W. S. Dennis. Article Describing the Tarndwarncoort property and its history. A4 Black and white photograph of Tarndwarncoort sheep wearing coats such as the ones in this collection

In 1978 a new campus for Williamstown Grammar, named Westbourne, was established at Truganina to accommodate the new secondary school. The first year 12 class graduated in 1983 and to commemorate this historic event, the Year 12 art and signature book was begun. Since 1983, each Year 12 group has nominated a student to create an artwork, which in many cases represents a theme that was important to the Year 12 cohort at the time, to be signed by each student of Year 12. The practice quickly became to create the artwork on a separate sheet of paper and paste it across the fold of each consecutive double page spread. The book, opened at the entry of the graduating class, would then be displayed at the Year 12 Valedictory Dinner each year.This books commemorates each graduating year 12 class since the establishment of the secondary campus at Truganina. It is an example of beginning community building traditions for the new school.Red vinyl bound book with tan-coloured suede corners and spine. The front cover features gold embossed lettering of the school name above a school logo (self-adhesive applied after manufacture) with further embossed gold lettering 'Year 12' below. Artworks on paper have been adhered across bifold pages of the book, using unknown adhesive, each year between 1983 and 2018. Adhered pages contain mixed media. Pages at the back of the book contain lists with senior student office holder names and signatures for each year 1983-2018.year 12, graduation, valedictory, art, community, student work, prefects

This card was sent to a student of the school in the 1950s. It was donated to the heritage collection along with another personal letter from Principal Molland, sent to the student when she was away from school, ill with measles. The card demonstrates the personal attention that students received from Mabel Molland and has historic significance and interpretive capacity in understanding the kind of leader and educator that Mabel Molland was. Small card with printed front, featuring a yellow circle in the centre with areas of red at the top and bottom. The image in the yellow circle consists of two birds on a lower tree branch and a further bird on an upper thin branch surrounded by blue flowers. Predominant colours are yellow, red, green and blue.Inside the card there is a message to a student. The message is signed M.M. Molland.

part of group of tally boards used by shore to ship rescue equipmentWooden board, curved at one end. .Black cloth tacked over with printed instructions (white). detail in English, French, German & Norwegian. Brown cord (hawser) ends whipped, attached.FASTEN TAIL BLOCK TO LOWER MAST WELL UP; IF MASTS GONE, THEN TO BEST PLACE HANDY; CAST OFF ROCKET LINE; SEE ROPE IN BLOCK RUNS FREE; SHOW SIGNAL TO SHORE

Black and white historic postcard (Set 2 No 2 ) Sign on Whitehorse Road, Mitcham in the 1940s advertising Mitcham. Photo supplied by Nunawading Historical Society - 2 copies.signs, whitehorse road, mitcham, nunawading historical society, nunawading library & information service

Local dances were held in the Mill buildings. This is one of two lists that survive from that time inside the mill. Handmade on property.Two pieces of cardboard nailed to the south wall. The sign contains a handwritten list of various dances. (see inscriptions for details)"QUADRILLE ALBERTS / WALTZ WALTZ / LANCERS QUADRILLE / SCHOTTISCH BARNDANCE / ALBERTS LANCERS / BARN DANCE WALTZ / WALTZ COTTN ROYAL IRISH / HIGH SCHOT VARSOVEINNA / ROYAL IRISH SPANISH WALTZ / LANCERS [copper plate] AULD LANG SYNE / POLKA"dancing, social gatherings

Black Boys Inn is in the market square of Aylesham, England. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph colouredinn, aylsham, england, black boys inn, market square

Black Boys Inn is in the market square of Aylsham, England. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph"Admiral Lord Nelson attended a dance at the Assembly rooms here on 15th December 1792 - 21st October 2005"aylsham, lord nelson, 1792, plaque

Lord Nelson plaque is in the town of Aylsham. "Archaeological evidence shows that the site of the town has been occupied since prehistoric times. Aylsham is just over two miles (3 km) from a substantial Roman settlement at Brampton, linked to Venta Icenorum at Caistor St Edmund, south of Norwich, by a Roman road which can still be traced in places - that site was a bustling industrial centre with maritime links to the rest of the empire. Excavations in the 1970s provided evidence of several kilns, showing that this was an industrial centre, pottery and metal items being the main items manufactured. Aylsham is thought to have been founded around 500 AD by an Anglo Saxon thegn called Aegel, Aegel's Ham, meaning "Aegel's settlement". The town is mentioned in the Domesday Book of 1086 as Elesham and Ailesham, with a population of about 1,000. Until the 15th century, the linen and worsted industry was important here, as well as in North Walsham and Worstead and Aylsham webb or 'cloth of Aylsham' was supplied to the royal palaces of Edward II and III. John of Gaunt was lord of the manor from 1372 and Aylsham became the principal town of the Duchy of Lancaster. Although John of Gaunt probably never came to Aylsham, the townspeople enjoyed many privileges, including exemption from jury service outside the manor and from payment of certain taxes. The village sign depicts John of Gaunt. In 1519 Henry VIII granted a market on Saturdays and an annual fair to be held on 12 March, which was the eve of the feast of St Gregory the pope. Aylsham markets have always been an important feature of the town, and businesses developed to meet the needs of the town and the farming lands around it. Besides weekly markets there were cattle fairs twice a year and, in October, a hiring fair. The historic Black Boys Inn in the Market Place is one of Aylsham's oldest surviving buildings, and has been on the site since the 1650s, although the present frontage dates to between 1710 and 1720. There is a frieze of small black boys on the cornice and a good staircase and assembly room. The Black Boys was a stop for the post coach from Norwich to Cromer, had stabling for 40 horses, and employed three ostlers and four postboys. A thatched waterpump was built in 1911 at Carr's Corner in memory of John Soame by his uncle, a wealthy financier. An artesian well 170 feet (52 m) deep, its canopy is thatched in Norfolk reed. As with many of the other market towns in the county, the weaving of local cloth brought prosperity to the town in medieval times. Until the 15th century it was the manufacture of linen which was the more important, and Aylsham linens and Aylsham canvases were nationally known. From the 16th century linen manufacture declined and wool became more important, a situation that continued until the coming of the Industrial Revolution. Thereafter the principal trade of the town for the 19th century was grain and timber, together with the range of trades to be found in a town which supported local agriculture. Records show that Aylsham had markets and fairs, certainly from the 13th century. Such weekly and annual events were important for the trade that they brought. Annual horse fairs would bring many other traders to the town, and the weekly market would be the occasion for more local trade. The rights of the stallholders in the market place today date back to the rights established in medieval times." See wikipediaDigital photograph"This stone commemorates JOSEPH THOMAS CLOVER 1825-1882 pioneer anaesthetist born in Aylsham"aylsham, joseph thomas clover, anaesthetist

The Military Merit Medal was founded by Emperor Franz Joseph 1st on March 12 1890. The Medal was awarded in both peacetime for meritorious service and in wartime for outstanding acts. ( Including bravery or military merit).Historic Significance.Bronze, Silver or Gold Medal with bust of the reigning Emperor on the obverse side. The words "SIGNUM LAUDIS" (Latin for "Sign of Praise") on the reverse. It is surrounded by a wreath of half - laurels and half- oak leaves. The medal is surmounted by a dual crowns "Karl 1st type" and worn from a tri-fold ribbon. On the ribbon there are two crossed swords.

It was at the “Schloss Cecilienhof” (Cecilienhof Palace) that Churchill, Truman and Stalin met from June 17 to August 2, 1945, for the Potsdam Conference. Cecilienhof Palace in the New Garden was the last Hohenzollern palace, built for the crown prince during the years 1913-1917. The end of monarchy in 1918 was another hard blow for the town, which so far was shaped by the Royal Court, garrison and administration. During the night of April 14, 1945, a British air raid destroyed large parts of the inner city of Potsdam. Battles against Soviet military units during the last days of April 1945 caused still more and heavy damages. The parks and their palaces remained almost unscathed. After the war ended, from the end of July until the beginning of August 1945, the Potsdam Agreement was negotiated and signed between Churchill, Truman and Stalin in Cecilienhof Palace. http://www.historicgermany.travel/historic-cities/potsdam/history Colour photograph of, Cecilienhof Palace, Potsdampotsdam

Yields information about depot activities of the BTPS.Set of 6 Agfa blue and white plastic mounts and 1 Kodachrome white cardboard slide - 27mm square slides of BTPS workers, c1973/1974 and various signs displays etc. .1 - Lindsay and Jeff Bounds with a Ballarat Tourist Tramway Sign .2 - Welcome sign for an open day .3 - Stewart Loddington with a Museum Display sign on the trolley. .4 - Bill Jessup, Clyde Croft .5 - display panel in a tram .6 - ditto .7 - group of workers looking at a historic photo.Various notations by John as to the slide number and the trams in pencil and ink.tramways, trams, btps, depot, signs

The south-west of Victoria, possessing a rich heritage of the signs of past human activity, is fertile ground for an investigation of historic places on public land. This report includes an initial inventory of almost 2000 places. The report outlines the history and the related heritage of the area, describes in some detail its biophysical attributes and introduces the natural resources and present land use. This information provides a context for understanding the origins of the historical features that are observes today.Historic places: Special investigation: South-Western Victoria: Descriptive report. Land Conservation Council. Land Conservation Council; Melbourne (Vic); January 1966. viii, 180 p.; illus.; maps. Soft cover. ISBN 0 7241 9288 3Maps in plastic sleeve.land conservation council; conservation; south-western victoria; historic places;

Handwritten notes, appears to have been copied from a guide or book, such as Bradshaws. Provides notes on route numbers, connecting electric trams, a round trip by cable and electric trams (9d), penny sections, through fares and details of 15 different through routes. c1918?Demonstrates copying historic information from publications.Document - 7 quarto sheets - ruled, handwritten, stapled in top left hand corner.cable trams, electric trams, melbourne, round trips, guide books, penny sections

The correspondent of The Argus recorded that: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. ... To-day the Heir to the Throne will review some 15,000 Australian troops at Flemington. ... It is a function which, on a lesser scale, might have been arranged at any time for many years past; but it could never previously have conveyed the meaning it does now. Soldiering was popularly regarded as a pastime here until South Africa tried the mettle of our men. It is serious business from henceforth. Those who followed the nascent aspirations of the volunteer soldiery in Australia must be impressed at the rapidity of their fulfillment. ... The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew. An invitation, mounted on card to the Royal Review held at Flemington racecourse on Friday 10 May 1901, as part of the Government of Victoria's Australian Commonwealth Celebrations. The border is vividly decorated with flags, shields and a large coat of arms. The photographic images depict various scenes of Flemington in Melbourne, in addition to two separate portraits of the Duke and Duchess of Cornwall and York. Illustrations of military servicemen on foot and horseback flank the central block of text. The invitation was addressed to Mr & Mrs J. M. Campbell. James Maitland Campbell had been Mayor of Kew in the years 1889-90, 1890-91 and 1892-93.Printed: AUSTRALIAN COMMONWEALTH CELEBRATIONS/ The Government of Victoria/ requests the honour of the presence of/ .../ AT THE/ ROYAL REVIEW/ at Flemington on Friday/ the 10th of May 1901. Handwritten on the dotted line: Mr. & Mrs. J. M. Campbellfederation events, royal review - 1901, james maitland campbell, federation -- invitations

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.An invitation, mounted on card for Mr & Mrs James Maitland Campbell to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. James Maitland Campbell of ‘Ramornie’ in Pakington Street was mayor of Kew on three occasionsFront, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / Mr & Mrs J. M. Campbell (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE."australia -- federation -- 1901, invitations, parliament -- opening -- 1901, james maitland campbell

The Correspondent for The Argus on 10 May 1901 described the opening on 9 May as: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.A colour lithograph mounted on card which is an invitation to the Opening of the First Commonwealth Parliament of Australia, 9 May 1901. The invitation was sent to Mr J.M. & Mrs Campbell. John Longstaff and Norman Lindsay’s design for the invitation includes symbolic female figures and coats of arms of the British and Australian Commonwealth. The central figure represents Justice. At her feet a crown and sceptre are laid, ‘to denote that the monarch will always acquiesce in laws passed by Parliament, provided they are just.’ On the left appears a figure of Britannia, above the royal coat of arms and in front of the white cliffs of England; on the right is a female figure representing Australia, with one hand out-stretched and above the Australian Coat of Arms. Behind her is a pastoral scene; she stands beneath a gum tree. At the top is a border of waratahs; on the left is a border of oak. The six states are represented in shields at the bottom of the card.Front, printed. gold ink: "Opening of the Parliament of the Commonwealth By his Royal Highness The Duke of Cornwall and York / The Government of Victoria requests the honour of the presence of / Mr. J . M. and Mrs. Campbell (handwritten / At the Celebrations in Melbourne in connection with the Opening of the Parliament of the Commonwealth of Australia."parliament of australia -- 1901, royal exhibition building -- melbourne (vic), james maitland campbell

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Two piece pale green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. 1860-70. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Two piece olive green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This polonaise is part of the Netta Fuller Collection.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long train of cream, watered silk taffeta lined with silk net. The shattered silk train is believed to date to the 1880s. wedding dresses, trains, polonaises, netta fuller