This outfit belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece silk taffeta chalk-striped afternoon dress worn by Mary Ann Henty, aged 49, in the period when she lived at Merino Downs near Portland. The outfit has bands of black silk and rows of fabric covered buttons on the bodice and skirt. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 889, Waist 736.6, Hip 863.6, Cuff 254, Hem circumference 2032. Vertical - Front neck to hem 419.1, Front waist to hem 152.4, Back neck to hem 558.8, Back waist to hem190.5 , Sleeve length 584.2. Horizontal - Neck to sleeve head 165.1, Chest back 330.2, Underarm to underarm 406.4. SKIRT Girth - Waist 609.6, Hip 1270, Hem circumference 4064. Vertical - Front waist to hem 1117.6, Back waist to hem 1371.6.francis henty, fashion -- 1870s, women's clothing, afternoon dresses, mary ann (lawrence) henty

This dress is believed to have belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s

This bridesmaid's dress was owned and first worn in 1875 by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty

Alice Henty (1852-1932) was the third daughter of Francis and Mary Ann Henty. her father was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living with his wife following his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice Henty’s wedding dress, made in 1876 for her marriage to John Hindson was remodelled in 1943 for the wedding of her granddaughter, Alice Henty Hindson to Norman Lithgow Tait at Holy Trinity, Kew. It was worn again by Margaret Henty Hindson (1918-2000) at her marriage to Dougald Webster Matheson at St Paul's Church, Henty in 1944. The two piece dress has a low décolletage shaped with a collar from which two curved panels drop. The fastenings for the bodice are buttons covered with the same fabric. The bodice is completed with two full length sleeves. The full skirt is slightly flattened at the front with a long train. In contrast, the ivory silk, silk faille and satin bodice with long tails remained unaltered. The front closure of the jacket has handmade embroidered buttonholes and covered buttons. The pleated collar and sleeves are decorated with gathered silk tulle. The jacket features long tails. alice frances (henty) hindson, women's clothing, wedding dresses, margaret henty hindson

This full length lobster tail bustle was owned and worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. Bustles of this form date from the mid-1860s however this example probably dates from the mid 1870s, and perhaps from before her marriage to John Hindson in 1876. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An exceptionally rare and fine, floor length, 'lobster tail' bustle that belonged to Alice Henty possibly worn with her two-piece pink silk gown but also with other dresses that she owned that required a bustle of this shape. The structure of the bustle includes an outer layer of polished cotton with inserted steel hoops and ties at the front. The lower four hoops have flounces of the same fabric. Overall, the bustle contains 12 hoops, crossed nearer the waist and semi-circular for the remainder of the undergarment. [One of the tapes of the bustle is imprinted with the word lockstitch. Elias Howe invented the lockstitch sewing machine in 1846.] Measurements (mm): BUSTLE: Girth - Waist 660 Vertical - Front waist to hem 914, Back waist to hem 965.fashion -- 1870s, alice frances (henty) hindson, women's clothing, bustles, underwear

This hand embroidered fire screen was embroidered by Winifred Caroline Henty Hindson (1887–1967), Elsie May Eliza Hindson (1880–1968) and Louisa (Louie) Charlotte Frances Hindson (1885–1963) three of the daughters of Alice Henty and John Hindson. Their grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century. Multicoloured silk embroidered floral composition on a black fabric background created by Louisa, Elsie and Winifred Hindson. The embroidery is held behind glass and is protected by blackened wood at the back. The screen is suspended in an ebonized and gilded frame with two rows of spindle decoration. fire screens, women's work, embroidery - 20th century, elsie hindson, louisa hindson, winifred hindson

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

New York : Franklin Watts, 1963 vii, 253 p. ; 25 cm. non-fictionGeneral history with very brief mention of Aborigines.settlement and contacts - colonisation., settlement and contacts - ancient and early historical., politics and government - sovereignty, economic sectors - agriculture and horticulture - pastoral industry., settlement and contacts - government settlements, history - political. | settlement and contacts - settlers., australia -- history.

(Ms) Berres Hoddle Colville is a local Surrey Hills resident and is a descendant of Robert Hoddle. Robert Hoddle was the first Surveyor General of Victoria. He arrived in Australia in 1823 and was one of the very earliest surveyors to explore, measure and map large areas of this vast, varied and difficult countryside, in a burgeoning era of pastoral settlement. 1837 saw him appointed Surveyor in Charge of the Port Phillip District. This book is based firmly on substantial extracts from Hoddle's own diary and other writings. Includes black and white sketches, maps and colour pages.Robert Hoddle was the first Surveyor General of Victoria. He arrived in Australia in 1823 and was one of the very earliest surveyors to explore, measure and map large areas of this vast, varied and difficult countryside, in a burgeoning era of pastoral settlement. 1837 saw him appointed Surveyor in Charge of the Port Phillip District. This book is based firmly on substantial extracts from Hoddle's own diary and other writings. Includes black and white sketches, maps and colour pages.Front endpaper: SURREY HILLS HISTORICAL / SOCIETY / PURCHASED FROM / THE AUTHOR ON THE OCCASION / OF HER TALK ON ROBERT HODDLE / TO THIS SOCIETY ON 17-10-[20]05 Title page: signed by the author: Berres Hoddle Colville / 17 October 2005 /(mr) robert hoddle, surveyors, (ms) berres hoddle colville

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

The South Australian Merino has been developed to perform well in the more arid, pastoral environments found in areas of South Australia, Western Australia, Queensland and New South Wales. Goliath has greasier wool which protects the fibre in adverse weather conditions. His wool is generally the strongest of the Australian Merinos, from 22 microns and upwards. Record Merino prices peaked in the 1980s when a Merino ram secured $450 000 at the 1989 Royal Adelaide Show ram sales. The ram was from the Collinsville Merino Stud which had also set sales records in the preceding two years; records that have never been beaten.  South Australian Merino ram. Large size body and short legs with white fleece. sheep, south australia

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002.Framed limited edition linocut on paper.lls '2/36' lc 'The Text Message (study)' lrs 'D. Frazer 15'artist, artwork, david frazer, parallel prints, printmaking, linocut

David FRAZER (1966- ) Born Foster, Victoria, Australia David Frazer works in painting, wood engraving, etching, lithography and bronze. He studied a B.A. Fine Arts (Painting) at Phillip Institute of Technology, followed by a Diploma of Education (Secondary- Art/Craft) at Latrobe University in 1991. He completed an Honours Degree in Fine Art (Printmaking (at Monash University in 1996, and between 1998 and 2000 Frazer undertook a Master of Arts (Visual Arts) by research: “Pastoral Melancholia”, at Monash University. One of Austalia's foremost printmakers David Frazer's highly detailed woodblock and linocut prints often explore the emotional and fragile state of the human condition. His work offers a nostalgic image of Australia through its examinations of landscape, Australian buildings, sheds, and itinerant travellers. He has held seven solo exhibitions between 1996-2006 in Melbourne, Sydney and a survey show curated by the Horsham Gallery, which toured Victorian regional galleries from 2004-2005. David Frazer’s work was seen in 37 group exhibitions between 1996-2006 including the 5th British International Miniature Print Exhibition in the UK, in the 2003. He more recently held a solo exhibition with Rebecca Hossack in London 2011. (http://www.thestockrooms.com/, accessed 06/03/2015) David was awarded the Keith Wingrove Bookplate Design and in 2002. These two wood engravings are the subject of the forthcoming Private Press book: ‘The Bookplates of David Frazer’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014/2015. Two limited edition prints by David Frazer using the wood engraving technique. They have been framed together. .1) Messenger Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 .2) Woe Wood Engraving Plate 10.0cm x 7.5cm Paper 29.0cm x 19.3cm Edition: 32/40 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, frazer, david frazer, wood engraving, framed bookplate, printmaking, bookplates, churchill, gippsland campus

John Goold double Premiership PlayerA scrap Book dedicated to twice Premiership Player 1968 - 1970 John Goold Career : 1963 - 1970 Debut : Round 7, 1963 vs Footscray, aged 21 years, 338 days Carlton Player No. 754 Games : 108 Goals : 3 Last Game : Grand Final, 1970 vs Collingwood, aged 29 years, 90 days Guernsey No. 11 Height : 184 cm (6 ft ½ in.) Weight : 76 kg (12 stone, 0 lbs.) DOB : June 27, 1941 Premiership Player 1968, 1970 Carlton Hall of Fame All Australian 1966 A brilliant, flamboyant, two-time Premiership player for Carlton during the Barassi years in the ‘swingin’ sixties,’ John William Crosbie Goold became almost as famous for his dapper appearance off the field, as for his exploits on it. At the height of his football career, he was also a prominent ladies fashion designer – which led to him being dubbed ‘Mr Elegance’ by leading football commentator Lou Richards. Supporters and team-mates however, called him ‘Rags’ or ‘Ragsy,’ because of his involvement in the clothing, or ‘rag’ trade. Goold first came under notice as an outstanding junior athlete at Melbourne Grammar School. A true all-round sportsman, he shone at tennis, athletics, football and cricket. He was also a keen horseman who loved the game of polo and the rough and tumble of fox hunting. While at school he was a fervent Melbourne supporter, but strangely, never had much confidence in his football ability. “If I thought I was good enough, I would certainly have gone to Melbourne,” he said many years later. “But I honestly didn’t think I would ever amount to anything in this game. Cricket and tennis were the games that really interested me.’ However, after graduating from MGS, Goold went home to Healesville to star in the Bloods’ 1962 Yarra Valley Football Association Premiership team – an achievement that brought tempting offers from more than one VFL club. “Incentives were offered elsewhere,” he recalled, “but I gravitated to Carlton – partly because the deep blue of their guernsey attracted me, but mostly because of the good advice I got from people who even then were longsighted enough to predict that big things were ahead for this club.” The Blues were confident enough in Goold’s potential to offer him the guernsey number 11 previously worn with distinction by the likes of Jack Hale, Jim Knight, Ron Hines and Laurie Kerr, and his first senior game came in round 7, 1963 against Footscray at the Western Oval. He played on a half-forward flank alongside Brownlow Medallists Gordon Collis and John James on that Saturday afternoon, and kicked his first career goal in an 8-point win. Little did he know though, that it would be another six seasons before he would again experience the thrill of sending a football spinning between the big posts, because his future lay in defence. By his own admission, Goold struggled to find his feet in VFL football during his first two seasons, until the shock appointment of Ron Barassi as captain-coach of Carlton in 1965 began steering his career back on track. “I think you could say that 1965 was my first year of League football,” he said, “That’s the way I felt - that’s the way I reacted to Barassi.” Under Barassi, Goold rapidly developed into a superb running half-back flanker. Tenacious, and an often freakish high mark, he was unmistakable on the field thanks to his mane of dark hair, his loping running style and somewhat awkward kicking action. Furthermore, he had boundless courage. There is no doubt that he would have played many more games had he not been regularly pole-axed under the high ball – a fact he later freely admitted. “I was always getting knocked out,” he said, “and spent half my bloody time in hospital.” In the second half of 1965, an injury to centre half-back Gordon Collis forced Barassi to use Goold in the key defensive post. While it curtailed his rebounding instincts somewhat, ‘Ragsy’ rose to the challenge and rarely lowered his colours. Testament to his improvement, he finished third behind John Nicholls and Sergio Silvagni in Carlton’s 1965 Best and Fairest award, and followed up by being selected in the Victorian team for the 1966 Hobart Carnival. There, he had a superb series in which he was runner-up to West Australian Barry Cable in voting for the Tassie Medal, and capped it off by being named on a half-back flank in the All Australian team. Barassi’s influence at Carlton bore fruit in his third year, when the Blues returned to finals football at last. Richmond, Carlton, Geelong and Collingwood fought out the 1967 Premiership, and Ragsy Goold won the hearts of the Carlton faithful with two lion-hearted performances. Although Carlton was knocked out of contention by successive losses to Richmond and Geelong, Goold was tireless throughout both games, and it was obvious that he thrived on the added pressure of finals football. Precisely twelve months later, the bitter taste of those defeats was washed away when Barassi’s Blues edged out Essendon by 3 points in the 1968 Grand Final, and ended 21 years of despair at Princes Park. To win Carlton’s ninth VFL flag, the Blues had had to defeat the minor premier Bombers twice during the finals – and did so, thanks to a watertight defence led by Goold, and a dominant ruck division headed by John Nicholls. In round 5, 1969, Carlton hosted South Melbourne at Princes Park in a match significant for a number of reasons. As he regularly did, Ron Barassi swung his team around prior to the opening bounce, and Goold found himself in the unaccustomed role of ruck-rover. While the Blues set about establishing a good break on the scoreboard, Ragsy relished the freedom to kick two first half goals - his first majors for 78 games. Just before half-time however, he was flattened in a pack, concussed again, and replaced during the long break by Barry Gill. Alex Jesaulenko was substituted at the same time – by a shy, ambitious youngster named Bruce Doull, making his senior debut for Carlton in guernsey number 4. In September, 1969 the Navy Blues began their third straight finals campaign with an impressive 6-goal Semi Final win over Collingwood in front of more than 108,000 fans at the MCG. A fortnight later, Richmond stunned the flag favourites with a withering last quarter in the Grand Final, and knocked Carlton out of the Premiership race again at the last hurdle. Half-way through the year, Carlton's club doctor discovered that Goold had been playing with shin splints in both of his lower legs. The pain they caused was considerable, but Ragsy soldiered on and held down centre half-back throughout the season. John Goold’s VFL career at Carlton culminated in the fabled 1970 Grand Final triumph over Collingwood. What is not so well known is that Ragsy was only cleared to play in that game on the morning of the match. After narrowly losing to Collingwood in the second Semi Final, the Navy Blues destroyed St Kilda by 62 points in the Preliminary Final, and earned another shot at the Magpies in the decider. But one of Carlton’s problems was that Goold had been kicked on a shin against St Kilda, causing a burst blood vessel and serious swelling. Despite the best efforts of the club medical staff, Ragsy had only a slim chance of playing in the Grand Final right up until game day, when his worried coach reluctantly allowed him to take his place in the side. Later, Barassi justified his decision by saying that in his opinion, a less than fully fit Goold was still worth his place in the team. By half time in the Grand Final however, he was probably questioning that judgement - because Carlton had been totally outplayed, and trailed an impressive, cohesive Collingwood by 44 points. Therefore, Carlton’s magnificent comeback – orchestrated by Barassi, and sparked by the fairytale exploits of 19th man Ted Hopkins – is one of the greatest of all football stories. Against enormous odds, the Navy Blues fought their way back into the contest, and eventually, rolled over the top of the frantic Magpies to snatch victory by 10 points in the last few minutes of the match. Hopkins ended up with four goals, Barassi was hailed a genius, and Ragsy Goold was carted off to hospital immediately after the game to have further urgent treatment. While there, he decided that there was no better time to end his VFL career – especially because his burgeoning business interests were demanding more and more of his time. In the years after his football career ended, John Goold created a remarkably successful business empire. In 1971 he sold his fashion label and took up farming at Mortlake in western Victoria, where he coached the local football team for three seasons. Later, he formed a diversified pastoral company, and purchased a magnificent complex called Ballangeich Run at nearby Ellerslie. While his passion for farming and livestock grew, he began breeding top quality polo ponies, and represented Australia in international competition. During the 1997 and 1998 seasons, John's son Ed Goold played reserve grade football for Carlton. MEMORIES.... Ragsy Goold; the name stirs memories form my long ago childhood. Ragsy, with his unique kicking style, where he'd hold the ball (always a drop punt - in a time when the drop kick and the torpedo punt still reigned supreme) at the point of the ball, elbows bent and he'd lavishly drop the ball, his right arm then flinging back and up dramatically. That was the thing about Ragsy (so named because he worked in the clothing, or 'rag' trade), he was always dramatic. He always ensured his ankle guards and wrist guard were glowing white to match the great white CFC monogram he wore proudly on his chest, and with his long flowing locks, cut a dynamic figure through a young boy's mind. Ragsy was my idol. I loved his dashes from half back, his long accurate drop punts, most of all I loved his flair for the game. Ragsy played the game as an entertainer as well as a sportsman - he leapt high to punch or mark, and always seemed to have a bit of the thoroughbred about him - which is probably why after he retired, he took up fox chasing, polo, and riding his beloved thoroughbreds across the paddocks and over the fences of his property, I think he may have even represented Australia at the sport – really, that’s sort of how he played as a footballer. All sinewy muscle, long legs and famous leaps for the saving punch. Ragsy was part of the great backline that helped revive Carlton's fortunes. Legendary players Wes Lofts, Ian Collins, Kevin 'Racehorse' Hall, Vinnie Waite among them. All great teams have a great defence and the defence that Ragsy was an integral part of was no different. Where others provided the biffo, the muscle or the defensive pressure, Ragsy provided the dash, the flair, the sense of adventure that all great backlines must have. AND MORE.... I have had many favourite players while following the Blues, but there will always be a special spot for Ragsy Goold - running the lines, all long hair and flashing white guards. As a young man I moved to Carlton and began acting in a place called one-c-one. One night after a play, I was walking home. It was winter, and I was wearing my favouritte overcoat, a genuine ankle length tweed affair I had picked up in an Op Shop in Oakleigh for three dollars. As I strutted across Lygon Street, a deep male voice behind me called, 'hey laddie, how much for the overcoat?' I turned, and there was my childhood idol, Ragsy Goold, two beautiful women in tow, smiling and waiting for my answer. I loved that coat too much to part with it, even to Ragsy, so I shook my head - and he smiled, then walked off. I stood for a moment in the middle of the street shaking my head in disbelief. Ragsy bloody Goold had just offered to buy my overcoat! I knew at that point, as a young man of about twenty three, that life was going to be full of surprises and very entertaining - a bit like John ‘Ragsy’ Goold. ONE MORE.... A cold, wet day in the mid 1960's at the MCG and Victoria were playing South Australia (?) The ball that day was like a piece of soap, with players finding it impossible to mark. Just before half time a long kick sailed toward the mud heap that was the centre of the ground, and the pack rose to meet it. From this group of players an arm shot straight up, and the ball instantly came to a dead stop. The footy stuck in the player's palm as if the hand was coated in Tarzan's Grip. After all these years, it's the only recollection I have of that match, and that player was 'Mr. Elegance' John Goold. HUMOROUS HUNGRY.... Former opponent Richmond's Kevin Bartlett on Radio SEN in 2012 received a phone call from John. After the call Kevin told his listeners how "Mr Elegance" would always be dressed in a nice suit, shirt-tie and highly polished shoes. He then cracked a joke saying something like; "You know, John was so 'posh' that he used to play football wearing a cravat!" Milestones 50 Games: Round 15, 1967 vs Melbourne 100 Games: Round 13, 1970 vs Geelong Career Highlights 1965 - Percy Bentley Trophy - 3rd Best & Fairest 1966 - 5th Best & Fairest 1967 - Maurie Sankey Memorial Trophy - 4th Best & Fairest (on count back) 1968 - Premiership Player 1970 - 7th Best & Fairest 1970 - Premiership PlayerFoolscap Scrap Book

A publication of 216 pages includes a detailed account of descendants of the Hume family and their achievements. It includes genealogical tables, portraits, and index and maps on the inside covers.This publication traces the achievements of descendants of Hamilton Hume and connected families. This includes the Mitchell, Hume, Kennedy and Huon pastoral families who had strong links to North East VIctoria. hamilton hume, australian pioneers, pioneer life

non-fictionThis booklet tells the story of Baranduda State School 2222 and was produced to celebrate its centenary. It also includes information about the history of the district and some of its pioneer families. Baranduda pastoral run was taken up in 1845 and it is thought that the name was derived from an Aboriginal expression relating to a swamp or a water rat. A few kilometres south-west there is the beginning of the Baranduda Range, of which the summit is Mount Baranduda. Baranduda was a rural hamlet with numerous German farm selectors, who came from South Australia. Beginning with the grazing of cattle and later dairying and sawmilling were added, serving markets in Wodonga and providing timber sleepers for railway construction. The primary school was opened in 1880.baranduda state school, education victoria, community history baranduda

non-fiction"The history of Bonegilla near Albury - initially a pastoral run, then a grazing property, then, after World War II a migrant transit centre". Bonegilla is the ‘deep waterhole’ on the Murray river. First it was a resource-rich tribal country, then came the explorers and the squatters and the mixed farmers and the Australian Army – a procession of occupants for over 100 years. Arthur Calwell, Australia’s first Minister for immigration changed Bonegilla again in 1947 and made it the first Australian home for 320,000 migrants mostly from war-ravished Europe. Ann Tündern-Smith is the first of the Australian-born children who resulted from Calwell’s post-war population programs. Her mother was one of the Estonians selected for the ‘General Stewart Hentzelman’ which brought the first Displaced Persons here in November 1947.bonegilla migrant reception centre, immigrants, bonegilla

The wool industry has been critical to the Australian economy from the early days of European settlement. The increase in wool production in the mid to late 19th century led to the need to replace the hand shears with some mechanized forms of shearing.The first commercially successful sheep shearing machinery by Frederick York Wolseley in New South Wales who was granted a patent for his machine on 28 March 1877. Many of the early settlers to North East Victoria droved sheep overland from both Sydney and South Australia and established large pastoral runs in the district. Wodonga became a major service centre for the industry and established major saleyards for the pastoral and cattle industries. The handset has the company name "Heiniger" on the side. Heiniger is a Swiss company with subsidiaries in Australia and New Zealand. It was originally established in 1946.This item is connected to a major rural industry in North East Victoria.A metal handpiece for a sheep shearing. A toothed blade is held in place with metal adjustable screws at one end. A jointed metal pipe at the other end allows attachment to the shearing machine. The hinge has been covered with leather.On adjustment knob "Heinger"shearing industry, shearing equipment, shearing handset

non-fictionA detailed study of the development of Bungil and Thologolong Stations in the Upper Murray regionbungil, thologolong station, upper murray, australian pastoral industry, peter sutherland, carter brothers

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook", Bowna, NSW and developed it to be the largest Romney Marsh stud in the world, exporting rams to Argentina. He introduced many innovative practices on his property including rabbit control measures and aerial crop dusting. He was an active member of the Albury Show Society and in 1949 established the Albury Sheep Show. Fred was also the Albury representative on the Graziers’ Association Council for over 30 years. He became a life member of both the Albury and Commercial Clubs. Fred’s greatest hobby was snow skiing. His first visit to the snow was to Kosciusko in 1919. The Albury Ski Club was formed in 1935 and Fred was an inaugural member. In 1949 they were granted a site at Falls Creek to build their own lodge. Fred guaranteed the Club for finance from the Bank of NSW. The first portion of the prefabricated building was constructed in Albury. It was transported to Falls Creek on the back of Fred’s truck and erected in one day. This was the bathroom section and the rest was completed in 1950. The original lodge was burned down in 1952 and a new one built the following year. In 1955, Fred also built the Bowna Lodge for his family in partnership with David Fairbairn. He became head of the North Eastern District Skiing Association (N.E.D.S.A.) and successfully applied to run the Australian Ski Championships. Fred also inaugurated children’s races at Falls Creek and ran them for about 20 years. He also formed the company “Falls Creek Ski Tows”. In 1956 Fred along with a group of key people selected the site for Thredbo Village. Fred and his brother sold Toonallook in sections between 1951 and 1974. He moved to Albury and set up as a landscape gardener and fencing contractor. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992. This image is from the Fred Griffith collection which documents the early development of Falls Creek.Black and white square photograph of two people wearing snow gear in the snow. The person on the left is in a lighter coloured suit and holding a ski pole and the person on the right is in a dark suit and holding skis and ski pole. There are skiers in the background, where there is mostly snow-covered hill and small amount of sky above. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields, albury ski club, skiing, snow sports, fred griffith, australian alpine club, albury

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook", Bowna, NSW and developed it to be the largest Romney Marsh stud in the world, exporting rams to Argentina. He introduced many innovative practices on his property including rabbit control measures and aerial crop dusting. He was an active member of the Albury Show Society and in 1949 established the Albury Sheep Show. Fred was also the Albury representative on the Graziers’ Association Council for over 30 years. He became a life member of both the Albury and Commercial Clubs. Fred’s greatest hobby was snow skiing. His first visit to the snow was to Kosciusko in 1919. The Albury Ski Club was formed in 1935 and Fred was an inaugural member. In 1949 they were granted a site at Falls Creek to build their own lodge. Fred guaranteed the Club for finance from the Bank of NSW. The first portion of the prefabricated building was constructed in Albury. It was transported to Falls Creek on the back of Fred’s truck and erected in one day. This was the bathroom section and the rest was completed in 1950. The original lodge was burned down in 1952 and a new one built the following year. In 1955, Fred also built the Bowna Lodge for his family in partnership with David Fairbairn. He became head of the North Eastern District Skiing Association (N.E.D.S.A.) and successfully applied to run the Australian Ski Championships. Fred also inaugurated children’s races at Falls Creek and ran them for about 20 years. He also formed the company “Falls Creek Ski Tows”. In 1956 Fred along with a group of key people selected the site for Thredbo Village. Fred and his brother sold Toonallook in sections between 1951 and 1974. He moved to Albury and set up as a landscape gardener and fencing contractor. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992. This image is from the Fred Griffith collection which documents the early development of Falls Creek.Black and white square photograph of man shovelling snow in front of himself. There are high levels of snow either side of man and building in the background. Snow is on top of building. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook"Black and white photograph of two women in snow smiling, wearing ski attire and holding skis over their shoulders. Standing on snow with sky and hills in the background. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook", Bowna, NSW and developed it to be the largest Romney Marsh stud in the world, exporting rams to Argentina. He introduced many innovative practices on his property including rabbit control measures and aerial crop dusting. He was an active member of the Albury Show Society and in 1949 established the Albury Sheep Show. Fred was also the Albury representative on the Graziers’ Association Council for over 30 years. He became a life member of both the Albury and Commercial Clubs. Fred’s greatest hobby was snow skiing. His first visit to the snow was to Kosciusko in 1919. The Albury Ski Club was formed in 1935 and Fred was an inaugural member. In 1949 they were granted a site at Falls Creek to build their own lodge. Fred guaranteed the Club for finance from the Bank of NSW. The first portion of the prefabricated building was constructed in Albury. It was transported to Falls Creek on the back of Fred’s truck and erected in one day. This was the bathroom section and the rest was completed in 1950. The original lodge was burned down in 1952 and a new one built the following year. In 1955, Fred also built the Bowna Lodge for his family in partnership with David Fairbairn. He became head of the North Eastern District Skiing Association (N.E.D.S.A.) and successfully applied to run the Australian Ski Championships. Fred also inaugurated children’s races at Falls Creek and ran them for about 20 years. He also formed the company “Falls Creek Ski Tows”. In 1956 Fred along with a group of key people selected the site for Thredbo Village. Fred and his brother sold Toonallook in sections between 1951 and 1974. He moved to Albury and set up as a landscape gardener and fencing contractor. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992. This image is from the Fred Griffith collection which documents the early development of Falls Creek.Black and white square photograph of two people wearing snow gear in front of a hut in deep snow, one person is sunken in the snow with back to camera and the person on the right is standing higher up on snow. Skis and ski poles are next to the people. Snowy hill with some greenery is in the background with sky. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook, Bowna, NSW and developed it to be the largest Romney Marsh stud in the world, exporting rams to Argentina. He introduced many innovative practices on his property including rabbit control measures and aerial crop dusting. He was an active member of the Albury Show Society and in 1949 established the Albury Sheep Show. Fred was also the Albury representative on the Graziers’ Association Council for over 30 years. He became a life member of both the Albury and Commercial Clubs. Fred’s greatest hobby was snow skiing. His first visit to the snow was to Kosciusko in 1919. The Albury Ski Club was formed in 1935 and Fred was an inaugural member. In 1949 they were granted a site at Falls Creek to build their own lodge. Fred guaranteed the Club for finance from the Bank of NSW. The first portion of the prefabricated building was constructed in Albury. It was transported to Falls Creek on the back of Fred’s truck and erected in one day. This was the bathroom section and the rest was completed in 1950. The original lodge was burned down in 1952 and a new one built the following year. In 1955, Fred also built the Bowna Lodge for his family in partnership with David Fairbairn. He became head of the North Eastern District Skiing Association (N.E.D.S.A.) and successfully applied to run the Australian Ski Championships. Fred also inaugurated children’s races at Falls Creek and ran them for about 20 years. He also formed the company “Falls Creek Ski Tows”. In 1956 Fred along with a group of key people selected the site for Thredbo Village. Fred and his brother sold Toonallook in sections between 1951 and 1974. He moved to Albury and set up as a landscape gardener and fencing contractor. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992. This image is from the Fred Griffith collection which documents the early development of Falls Creek.Black and white square photograph of heavy machinery outside, a man wearing a hat is behind the machinery and operating it. A fence post is front right with a child standing (slightly blurred) to the right. Trees in the background. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields

This photo is part of the Fred Griffith Photographic Collection documenting his time with the Australian Alpine Club and the formation of the Albury Ski Club. Frederick Charles “Fred” Griffith was born in Albury, NSW on 2 March 1910. Educated in Albury and Geelong Grammar. Beginning in 1927 he spent many years working first as a jackeroo and on a range of prominent pastoral and merino stud properties in NSW and Queensland. In 1935 he repurchased his former family property “Toonallook", Bowna, NSW and developed it to be the largest Romney Marsh stud in the world, exporting rams to Argentina. He introduced many innovative practices on his property including rabbit control measures and aerial crop dusting. He was an active member of the Albury Show Society and in 1949 established the Albury Sheep Show. Fred was also the Albury representative on the Graziers’ Association Council for over 30 years. He became a life member of both the Albury and Commercial Clubs. Fred’s greatest hobby was snow skiing. His first visit to the snow was to Kosciusko in 1919. The Albury Ski Club was formed in 1935 and Fred was an inaugural member. In 1949 they were granted a site at Falls Creek to build their own lodge. Fred guaranteed the Club for finance from the Bank of NSW. The first portion of the prefabricated building was constructed in Albury. It was transported to Falls Creek on the back of Fred’s truck and erected in one day. This was the bathroom section and the rest was completed in 1950. The original lodge was burned down in 1952 and a new one built the following year. In 1955, Fred also built the Bowna Lodge for his family in partnership with David Fairbairn. He became head of the North Eastern District Skiing Association (N.E.D.S.A.) and successfully applied to run the Australian Ski Championships. Fred also inaugurated children’s races at Falls Creek and ran them for about 20 years. He also formed the company “Falls Creek Ski Tows”. In 1956 Fred along with a group of key people selected the site for Thredbo Village. Fred and his brother sold Toonallook in sections between 1951 and 1974. He moved to Albury and set up as a landscape gardener and fencing contractor. After a serious work accident, Fred retired in 1985 and moved to Rosebud, Victoria where he died on 19 August 1992.Black and white square photograph of man shovelling snow with high levels of snow either side of him and a hut behind. There is snow on the roof of the hut. Stamped - SUPER / G & D . SERVICE Pencil - 61bogong, falls creek, snow, snowfields