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Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Pond Reflecting Pugh, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Evening at Pugh's Garden, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph -
Nillumbik Shire Council
Print (Lithograph): Alice Blanch Chehovski, Alice B. (Blanch) Chehovski, Dunmoochin, Interior Pugh's House, Printed 2004
Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph -
Nillumbik Shire Council
Painting: Brian ARMSTRONG, Brian E. Armstrong, Duet, 1978
... a year traveling and studying in Europe. Brian returned home... Scholarship which he won, entailed a year traveling and studying ...Brian was born in Melbourne in 1949. Early life was spent in the stimulating bush environment in Montrose. Ramon Horsefield saw a spark and Brian began to paint in oils at the age of thirteen. He contunued tuition with Graham Moore, in class and at night classes. An Art Diploma at Swinburne was not completed. This did not crush his creative spirit and he resumed tuition with Graham Moore. Within a few years he was winning prizes. Many and varied jobs allowed him to survive whilst aspiring to become a full time painter and bring up his growing family. In 1977 Brian resigned from his last employment as a picture framer. He leased a shop in Main St, Mornington and set up classes. Brian taught painting and had his own studio behind the school. Later he was to move and build his "bushland gothic" home in North Warrandyte. Here he developed his reputation as a painter. Brian had his first solo exhibition in 1979. Many more were to follow. He has won many prizes, was a finalist in the 1992 Moran Portrait prize. The Alice Bale Scholarship which he won, entailed a year traveling and studying in Europe. Brian returned home in 1996. Sharing his skills with many students over the years, he taught privately and at various art societies. His oils, pastels and charcoals capture the light of landscape, portrails and nudes. In 2012 it will be thirty-five years since Brian has had a "real job". At times this has been really difficult. He is now semi retired after suffering from Rheumatoid Arthritis for a decade. Now he paints what he loves to. His portraits capture the very essence of the sitter. In 2009 he remarried and moved back into the bushland of North Warrandyte. 'Duet' by Brian E. Armstrong was donated by the Artist to the Eltham Copper Butterfly Appeal Auction.Oil on canvas painting depicting a 'Duet' scene with two children. One is shown playing the flute whilst the other is playing the piano. The painting is fashioned in sombre colours and muted tones, with alternating tones of violet prominent.Signed- Brian E. Armstrong '87 On label - artist's name: Brian E. Armstrong Address: 844.2925 Title of Painting: Duet Medium: Oil on canvas On Frame: 82 enclosed in circle. 31 1/2. C Enclosed in circlebrian e. armstrong -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Eltham 1965, 195
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire -
Nillumbik Shire Council
Ceramic (plate): Joan Armfield & David Armfield, David Armfield, Platter with dolomite glaze and Grevillia decoration, c.1975
David Armfield: David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1930s on painting trips and used to camp on the banks of Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Ceramic stoneware. Reduction fired, dolomite glaze, wax resist decoration over iron. Decorated/painted by David Armfield. Cast by Joan Armfield. -
Duldig Studio museum + sculpture garden
Furniture, Sigmund Jaray et al, Viennese bedroom suite manufactured by Sigmund Jaray Kunstmobelfabrik 1931, 1931
The Wiener Werkstätte (Viennese workshops) established by Josef Hoffman and Kolomon Moser in 1903 are today celebrated for their work in promoting the involvement of artists, designers and craftspeople in the manufacture of home furnishings; however Sigmund Járay’s firm was also an important, although today lesser-known, Viennese manufacturer of Kunstmöbel (art furniture). An Austro-Hungarian designer of Jewish descent, Sigmund Járay (1838-1908) established his Kunstmöbelfabrik (art furniture factory) in Vienna in the 1870s in partnership with his brother Sándro Járay (1845-1916), a sculptor. The firm with its team of cabinet makers, modellers, sculptors, upholsterers, painters and gilders, manufactured bespoke furnishings and decorated interiors for public and private clients, including the Imperial court. Such was the prominence of the work of this factory, that in 1899 one of the first purchases of the newly formed Austrian Museum of Applied art was a suite of furniture designed by Sigmund Járay for a married worker. In commissioning the furniture, Slawa was adopting the custom of Viennese couples to furnish their homes with bespoke furniture from the interior design firms that flourished in early 20th century in Vienna. Comparative material is held in the National Gallery of Victoria collection; a suite of furniture by Josef Hoffman commissioned by the Gallia family in 1912; and a suite of furniture by Adolf Loos commissioned by the Langer family in 1903. Ann Carew 2016The bedroom suite is aesthetically significant for the quality of its craftsmanship and design. It is a significant example of domestic interior design in Vienna during the 1930s. The bedroom suite is intact, and has been preserved in its entirety – double bed and side tables, wardrobe and linen press, stool and day bed. It has the potential to be displayed in situ in the place where it was last in use. It is of historical significance. Many Jewish families had all their possessions lost or destroyed during the war years. The story of the furniture’s journey from Austria to Australia is relevant to the study of the experience of émigré families during the Holocaust, and the importance of return of their property. It is rare, as it and the furniture in the living and dining room, are the only known examples in Australia of furniture manufactured by the firm of Sigmund Jàray. The provenance of the furniture is excellent, and is demonstrated by photographs taken in Vienna; correspondence with the donor’s sister, Rella; and the quotation from Sigmund Járay Kunstmöbelfabrik. It is in excellent condition. Ann Carew 2016Bedroom suite consisting of a double bed, two side tables, an upholstered stool and upholstered day bed, and a wardrobe and linen press. Made of Maple and Rosewood. Designed by the firm of Sigmund Jaray with Slawa Horowitz-Duldig. -
National Wool Museum
Functional object - Spinning Wheel, Philip Elford, 1976-7
Jackie Kerin's (donor's) story. In 1973, I was in my late teens and while I’d moved to Sydney from Melbourne, to begin my first year of drama studies at the National Institute of Dramatic Art. My parents had moved to Lake Bunga, a few kilometers north of Lakes Entrance (Victoria). On my first holiday visit to Bunga, I called into the Jolly Jumbuck Country Craft Centre in Bairnsdale http://jumbukwool.com.au/history. I was entranced by the place and spent the following weeks learning to spin lumpy wool on an Ashford Wheel. By the end of the holidays, I had my own Ashford and it travelled with me back to Sydney. After graduation, I returned to Melbourne and the hippy “back to nature” movement was in full swing; there were many shops and galleries selling handmade woollen items and pottery etc. So I found an outlet for my pieces. Sometime in 1976-77, I met a spinner and weaver of Swiss origin (I think) – her name was Ingeborg Guber (not sure of the spelling). She had a small gallery/shop at Brighton Beach where she worked, with her pet duck for company. Ingeborg had an upright Philip Elford wheel; an Australian wheel crafted from Acacia melanoxylon (blackwood). I was smitten and ordered one. I have a memory of Philip driving to Hampton from Ballarat to make the delivery. I used this wheel for years but as time and enthusiasm for spinning waned, the wheel became a decorative item in the house. Then in the 90s, and with my drama training, I set myself up travelling to schools and festivals, museums and galleries as a storyteller. The spinning wheel had a new life accompanying me on my adventures. For many children, familiar with references to spinning in fairy tales, seeing the little Philip Elford upright was magical. The wheel was donated to the National Wool Museum in 2021.Vertical tripod leg spinning wheel. 6 spoke wheel with three bobbins. Inscription “Philip Elford Ballart” can be read in gold text stamped to the base of the wheel. Wording, stamped, gold. Philip / Elford / Ballartspinning wheel, textile production, hobby textiles, aciacia melanoxylon (blackwood) -
Brighton Historical Society
Bodice, circa 1900
This bodice belonged to Mary Crombie, an early Victorian dentist, who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. Mary Margaret Crombie (1884-1971) was born at Coan Downs Station near Walgett, northern New South Wales, where her father Henry was station manager. After Henry’s untimely death in 1895, Mary and her mother loved for a few years with family members in St Kilda, before moving into a cottage of their own, ‘Rosewood’, at 42 Asling Street, Brighton around 1899. From here, Mary attended Oberwyl Ladies College in St Kilda and later the Australian College of Dentistry, one of only a few women to study dental surgery at the time. She was apprenticed to Ada Tovell (1865-1932), one of Victoria’s first female dentists, who had her own practice in Collins Street. Mary graduated in 1907 and the following year moved with he mother to Yarram in South Gippsland, where she took over the running of a practice owned by Sale dentist Charles Trood, eventually purchasing it from him in 1915. Speaking to a Brighton newspaper in 1961, Mary said she believed that she was the first woman to start a dental practice in Gippsland. For some locals, this took a little getting used to: “Many were amazed, and had some misgivings, when they found that the local dentist was a woman,” she said. “I always remember a huge farmer (he was about 6 ft. 4 in.), who had fortified himself at the local hotel to face the ordeal of visiting the dentist. He almost turned and ran when he saw me. … He was still more amazed when I pulled out his tooth without undue trouble.” The farmer was the best advertisement she could have asked for, telling everybody about the diminutive lady dentist who had calmly extracted his tooth. Mary practiced in Yarram until her retirement in 1949. After selling her practice she returned to Brighton, where she spent the last two decades of her life residing at 25 Oak Grove. Following her death in 1971, her relatives in Brighton donated a number of items from her home to BHS.Black satin bodice, boned, with black faceted glass buttons down the front. High collar. Both collar and cuffs are edged with a black net ruffle. Two rows of seven black crochet-covered buttons at each cuff, fastening with loops. Stray brown threads poking through fabric around the collar, shoulders and back indicate that these areas may originally have featured lace embellishments.mary crombie, 1900s -
Brighton Historical Society
Cover, Cushion cover, 1915
Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. BHS records indicate that this cushion cover belonged to Mary Crombie, an early Victorian dentist who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. It is likely it was given to her as a gift by a friend of family member who served in Egypt.Pale pink satin cushion cover with pale blue fringe. Embroidered with the words "Souvenir From Egypt / Cairo / 1915", above the image of a crown flanked by crossed Australian and French flags. Below this is embroidered two pyramids and the Great Sphinx of Giza, bordered by flowers, with a red bow at the bottom.Written in blue pen on reverse side: "Memento of World War I / from Mary Crombie".cushion cover, 1910s, first world war, world war i, egypt, cairo -
Uniting Church Archives - Synod of Victoria
Photograph, (F455-5) 1987; (F455-6) 1986; (F455-7) 1986
Reverend Dr. J. Davis McCaughey (12/07/1914 - 25/03/2005) was ordained in 1942 in Northern Ireland. He served at the YMCA, Fisherwick Belfast, United Kingdom, Professor of New Testament Studies at the Theological Hall, Master of Ormond College and retired in 1979. In 1986 he became Governor of Victoria, an office he held for six years.(F455-1) seated at table; (F455-2) head and body seated; (F455-3) head and body standing; (F455-4) seated at desk; (F455-5) seated at desk; (F455-6) head and body seated; (F455-7) head and body seated.(F455-1) "ACC 29th General Meeting Adelaide Justice Elizabeth Evatt addressed the meeting on the report on Human Relationships. Chairman of the session was the Rev Professor Davis McCaughey. Photo Rollason ACC"; (F455-2) no details; (F455-3) "Dr and Mrs McCaughey Rev Ian Steer Reg News 20 December"; (F455-4) "Rev Dr. Davis McCaughey"; (F455-5) "HE Dr Davis McCaughey, AC Governor of Victoria C&N 22/7/1987 page 19"; (F455-6) "Please return to C&N Credit Roger Mitchell Church and Nation C&N Feb 86 page1 front cover"; (F455-7) "C&N 12/2/1986 page 17".mccaughey, davis, rev., presbyterian minister, theological hall, ormond college, governor of victoria -
Uniting Church Archives - Synod of Victoria
Photograph, Undated c.1939
John Blakemore (1908 - 2000). Born at Pelsall, Staffordshire. Became a local preacher at the age of 18. Arrived in Australia in 1926. Accepted as a Home Missionary and served at Ultima, Willaura, Piangil and Moulamein. Studied at Otira and at Queen's College. Whilst studying he was sent to St. George's Rd Northcote, where he met his wife. Returned to England for two years, where he served as a probationer. Returned to Australia in 1937 and was ordained into the Methodist Church. He served at Merbein, Shepparton, Newstead, Numurkah, Maffra, East Ivanhoe, Bentleigh, and Oakleigh. Between 1941 and 1944 he was a chaplain in the A.I.F.B & W head and shoulders studio portrait of the Rev. John Blakemore.john blakemore, local preacher, home missionary, otira, queen's college, chaplain a.i.f., methodist, minister. -
Federation University Art Collection
Painting - Watercolour, Albert E. Williams, 'Study of Kangaroo Apple', 05/07/1928
Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. From its inception in 1914, it was 30 years before the first candidate achieved the certificate’s exhaustive requirements. This artwork was completed for the Drawing Teachers' Secondary Certificate at the Ballarat Technical Art School, a division of the Ballarat School of MInes. It is part of the Federation University Art Collection which features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Three design motifs inspired by the Kangaroo Apple for undertaken for the Drawing Teacher's Secondary Certificate."Study of Kangaroo Apple - with two designs based thereon. For Drawing Teacher's Secondary Certif. By Albert E. Williams. Tech. Art School, Ballt."art, artwork, albert e williams, a e williams, williams, ballarat technical art school, secondary art teaching, drawing, a.e. williams, available, alumni -
Federation University Art Collection
Drawing - pencil on paper, 'Drawing Ornament from Cast in Light & Shade' by Albert E. Williams, c1920
Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Bal larat Treasure' in 2007.Pencil drawing of a plaster cast floral form.Written on the mat board below the drawing "Drawing ornament from cast in light and shade. For Drawing Teacher's Secondary Certificate by Albert E. Williams, Tech. Art School, Ballarat."art, artwork, albert e. williams, williams, ballarat technical art school, plaster cast -
Federation University Art Collection
Drawing, Williams, Albert E, 'Drawing Human Figure from the Cast', 1931
Albert E. WILLIAMS (1899-1986) Victoria, Australia Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. In 1937 he was living at 302 Drummond Steet South, Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Unframed pencil drawing of a plaster cast of a human figure known as the Dancing Faun, a marble sculpture first recorded in 1665, when Albert Rubens listed it as in the collection of the Grand Duke of Tuscany in Florence (probably long owned by the Medici). By 1688 the sculpture was held by the Uffizi in Florence. In September 1800 the sculpture was sent to Palermo along with other treasures to avoid plunder by the French army, but it was returned to the Florence in 1803. By the 18th Century the Dancing Faun gained a reputation as one of the finest ancient sculptures in existence. A faun makes music by simultaneously playing the ‘crotala’ (similar to cymbals) in his hands and the ‘scabellum’ or ‘croupezion’ under his right foot. In Victorian Education Department examinations, this sculpture was sometimes called the "Clapping Faun".Written on the mount board below the drawing "Drawing Human Figure from the Cast. for art Teacher's Certificate 1931 by Albert E. Williams. Tech. Art School, Ballarat."art, artwork, albert e. williams, williams, ballarat technical art school, art teacher's certificate, a.e. williams, alumni, drawing from the cast, drawing from the antique, drawing the himan figure from the cast, dancing faun -
Federation University Art Collection
Print - Printmaking - linoprint, Loris Button, 'Fragments of Time' by Loris Button, 2002
Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Twenty Five unique state linoprints on handmade abaca and cotton rag papers mounted together with insect pins. This work formed part of the Artist's PhD research.art, artwork, loris button, printmaking, linoprint, doctorate, alumni, handmade paper, linocut -
Federation University Art Collection
Architectural Drawing, Measured drawing ornament House Fitzroy Gardens by Albert E. Williams, c1920
Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Pen and ink measured drawing showing side elevation, front elevation, sectional elevation and scales.art, artwork, williams, albert e. williams, ballarat technical art school, architecture, art teachers' certificate -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph, October 1941
The 2/8th Armoured Regiment was raised in June 1941 under the command of Lieutenant Colonel W G Hopkins with officers and men selected from the wider AIF in Victoria. The regiment trained in newly arrived M3 General Grant tanks at Puckapunyal before moving north to Singleton, then the Wee Waa plains. The regiment sailed for New Guinea in April 1943 and carried out mobile defence to airfields at Port Moresby, Milne Bay, Dobadura and Popondetta. The regiment returned to Australia in February 1944 and disbanded as an armoured regiment and retrained as Nos 41, 42 and 43 Landing Craft Companies. They returned to the South West Pacific serving at Bougainville, Balikpapan, Lae and Wewak.Good study showing men of an armoured regiment from Victoria marching in Melbourne early in WWII (1939-45)Framed photograph of soldiers marching through Melbourne city street; crowds on both sides of street.Below photograph ""A Squadron 2/8th Armoured Regiment , Melbourne, 17th October 1941. Squadron Commander Major Jenkins. RSM Arch Martin"2/8th armoured regiment, melbourne -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph, October 1941
The 2/8th Armoured Regiment was raised in June 1941 under the command of Lieutenant Colonel W G Hopkins with officers and men selected from the wider AIF in Victoria. The regiment trained in newly arrived M3 General Grant tanks at Puckapunyal before moving north to Singleton, then the Wee Waa plains. The regiment sailed for New Guinea in April 1943 and carried out mobile defence to airfields at Port Moresby, Milne Bay, Dobadura and Popondetta. The regiment returned to Australia in February 1944 and disbanded as an armoured regiment and retrained as Nos 41, 42 and 43 Landing Craft Companies. They returned to the South West pacific serving at Bougainville, Balikpapan, Lae and Wewak.Good study showing men of an armoured regiment from Victoria marching in Melbourne.Framed photograph of soldiers in armoured corps uniform marching through Melbourne city street; crowds on both sides of the street.Below photo "2/8th Armoured Regiment march through Melbourne 17 - 10 - 1941"2/8th armoured regiment, melbourne -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph - WW1 soldier, John James Barnes
John James Barnes , 23 year-old labourer of Marong Victoria enlisted in the Australian Imperial Force (AIF) 8 September 1914 and was allocated to 8th Light Horse Regiment. He had two years pre-war service with the light horse. He served on Gallipoli, was evacuated ill and subsequently returned to Australia. The 8th Light Horse Regiment AIF was raised at Broadmeadows Victoria in September 1914 under the command of Lieutenant Colonel Alexander White and formed part of the 3rd Light Horse Brigade. Good studies of soldier in World War One light horse uniformTwo black and white photographs of soldier of the 8th Light Horse Regiment (AIF) being No 487 Trooper John James Barnes, Machine Gun Section. One photo is more formal than other.John James Barnes / 8th Light Horse Reg / Reg No; 487barnes jj trooper, 8th australian light horse (aif), uniform, military -
Flagstaff Hill Maritime Museum and Village
Furniture - Smoker's Cabinet, 1927
This smoker’s cabinet is a very decorative and clever version of the item that was a novelty piece of furniture that appeared before the First World War. The contents of the cabinet are cleverly hidden behind a tambour roller door. The door slides down into the cabinet when the bottom drawer is unlocked and pulled forward, revealing two more drawers and a shelf. The bottom drawer is fitted with its own removable ashtray and a match striker. The smoker’s cabinet was a popular piece of personal furniture from the 1900s to the 1930s. The cabinet was usually designed so that its purpose was hidden. Behind the door would be a place to store all manner of things associated with smoking, such as pipes, cigars or tobacco, a removable ashtray, matches and perhaps cigar trimmers. The small cabinet was presented to Dr Angus in March 1927 by patients of the Mira hospital in Nhill, Victoria, to show their appreciation for his care. It may have been chosen as something suitable for Dr Angus to take with him when shortly afterwards sailed overseas to study at the London University College Hospital and at the Edinburgh Royal Infirmary. In 1928 he became a Fellow of the Royal College of Surgeons, Edinburgh, before returning to Australia. He and his wife and their young family settled in the Nhill district until moving to Warrnambool in 1939. His family donated this smoker’s cabinet, along with many other historic items, and it is now part of the W.R. Angus Collection. W.R. Angus Collection- The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This smoker’s cabinet is significant as an unusual and rare piece of personal vintage furniture. The tambour roller door is seldom seen on this type of cabinet. The smoker’s cabinet is connected to the history of Warrnambool, as it was owned by Dr W. R. Angus and is part of the W.R. Angus Collection, which is notable for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. It is also connected to the history of western Victoria through its origin, being a gift from the patients of the Mira Hospital in Nhill to Dr Angus, who was the local doctor there in the 1920s and 1930s. Smoker’s cabinet; a stained and lacquered Rosewood tabletop cabinet with a tambour cover. The cabinet is lockable. The tambour shutter door rolls downwards as the bottom drawer is opened, revealing the top two drawers and shelf. The bottom drawer is divided into compartments and has a fitted metal bowl with a bar across it to use as an ashtray and an attached striking surface for lighting matches. The cupboard had decorative silver metal swinging handles on the drawers and sides. The underside of the cabinet is painted crimson. A shield-shaped silver metal commemorative plaque is attached to the top. The cupboard was a gift to Dr W R Angus on March 7th 1927 from the patients of the Mira Hospital in Nhill, Victoria, and is part of the W.R. Angus Collection.Inscription on the plaque: “Dr W.R. ANGUS, A Token of Appreciation from the Patients of “Mira” Hospital, Nhill, Victoria, March 7th 1927.”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, smoker’s cabinet, smoker’s cupboard, tambour door, smoking stand, smoking accessory, novelty furniture, tobacco storage, tabletop cabinet, patients’ gift, mira hospital, nhill hospital, w.r. angus, doctor angus, dr angus, march 7th 1927, w.r. angus collection -
Federation University Historical Collection
Music Scores, Boosey & Hawkes Ltd, Handwritten sheet music, mid twentieth century
Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Handwritten music scores by Frank Wright, some in his hand. 1). 'The Merry Peasant' by Schumann and arranged in parts for brass band by Frank Wright - 3 pages. 2). 'Threshold' by Frank Wright -9 pages. 3). 'Around the Campfire' in parts - 10 pages. 4).'March (Judas Maccabaeus) by Handel and arranged by Frank Wright for the Boys Brigade (a) is written by Frank in pencil, (b) is written in pen with a brown paper cover. 5). 'Anthony & Cleopatra' arranged for the Boys Brigade (a) in written in pencil, (b) is written in pen. 6). 'O Give Me the Hills' written in pencil - 2 pages 7). 'Beneath this Turf' music by Frank Wright and words written in 1842 by Unknown Author - 3 pages. 8). 'If When that Hour Recalling' music by Frank Wright and poem by Thomas Moore, written in pen for 4 brass parts plus violin - 6 pages. 9). 'So Long', Brass Band arrangement by Frank Wright, written in pencil - 2 pages. 10). 'Gluck: March' arrangement by Frank Wright and written in pencil - 2 pages. 11). 'Occasional March' by Handel, arrangement by Frank Wright and written in pen - 5 pages (3 pages of band parts plus a separate Solo Cornet page). 12). 'Bugle Command: Ceremonial March for Bugles and Brass Band' written by Frank Wright - (a) 6 pages of bands parts plus a separate Solo Cornet page written in pen (b) 4 pages written in pencil and pen. 13). 'Scena' & 'Idyll' - Grade 4 Trombone written by Frank Wright in pen - 2 pages. 14). 'Green Corn' Brass Band arrangement by Frank Wright, written in pencil - 1 page. 15). 'Syrian Air' by Geoffrey Allen and arrangement by Frank Wright, with a buff cover (a) written in pencil - 2 pages (b) photo copy of parts - 2 pages (c) single sheet of music written in pencil, blue pen and red pen with some sections crossed out. 16). 'Gavotte: from the Opera "Rodrigo"' by Handel and arrangement by Frank Wright with a brown paper cover (a) 3 pages written in pencil (b) 3 pages written in pen. 17). 'Tales of Hoffman' arranged by Frank Wright for Brass Band 32 page printed booklet in a buff envelope. 18). 'Will Your Anchor Hold' arranged by Frank Wright for The Boy's Brigade - (a) 2 pages written in pencil with a buff cover plus a page with both pen and pencil notes (b) 2 pages written in pen plus a photo copied page for Solo Cornet. 19). Buff folder of 3 pieces of music written in pen - '1. Riverside', '2. Cenotaph' & '3. London Lights' - 7 pages. 20). 'Preludio Marziale (Martial Prelude)' by Frank Wright (a) written in pencil - 2 pages (b) written in pen - 7 pages (c) 7 page printed copy 21). 'Rondo Theme' (a) music written in pencil on the front of a buff envelope (b) 1 page written in pencil 22). Buff folder with two poems set to music by Frank Wright and written in pen - (a) 'My Heart and Lute' by Thomas Moore - 3 pages plus another 3 pages which may be part of this piece (b) 'The Rose' by Thos Croft (bart) - 3 pages. (c) a Musical Pitch Relation Chart for Pipe Organ. 23). 'Purcellian Suite', Purcell arranged by Frank Wright - 3 pages written in pencil and 4 photocopied pages 24). 'G's pl piano study 27/2/52All hand written 8). Written in pencil on front - You can return this score. Keep parts. 9). Notes to musicians written in pen on page 1. 11). Notes to musicians in pencil on page 4. 13). a correction written in red pencil. -
Federation University Historical Collection
Book - NUrsing Book, Dorothy E. Reilly, Graduate Professional Education Through Outreach: A Nursing Case Study, 1990
Blue, pink and white soft covered book of 194 pages. non-fictionnursing, margaret stevens, university of ballarat school of nursing, dorothy reilly, dorothy e reilly -
Orbost & District Historical Society
books, The Education Department's Record of War Service 1914 - 1919, 1921
Teachers from all across Victoria enlisted in the Australian Imperial Army to fight overseas. 752 from the Victorian Education Department are listed as signing up. Many were teachers but also included were clerical staff, medical officers. Included in the book are details of the contributions made by others through donations of "comfort items" and subscriptions. There are details of The Young Workers' Patriotic Guild, the war savings effort in the schools and general school subscriptions. 703.1 was presented to Jarrahmond School and 703.2 to Corringle School. Neither school exists today. This is a useful reference tool for the study of the particpation of teachers of the East Gippsland area in World war 11.Two copies of a hard back book with a light brown/orange cover with the title, "The Education Department's Record of War Service 1914-1919' in gold print. It contains portraits and biographical notes on "the men who fell" and "the men who returned". world-war-11 department-of-education-victoria -
Federation University Historical Collection
Costume, Ballarat School of Mines Blazer, 1938
This blazer was worn by Keith Wylie from 1939 until 1942 when he joined the army and was commissioned in the Corps of Aust. Elect. & Mech. Engineers. He was studying for his Electrical Diploma and practice Electrical Engineering. He finished his army service in the British Occupation Force in Japan before returning to be discharged in May 1947. He completed his remaining 2 subjects at S.M.B. in 1947. Green woollen unlined blazer with embroidered emblem on breast pocket. The edges are bound including the three pockets and the sleeve cuff 9 cm from the edge. There are three green buttons at the front. The internal edges are bound are there is tape stitched to the inside where the top of the side pockets are stitched. There are 5 places where a small piece of tape has been stuck to fabric to stop the fraying of small holes.Embroidered makers fabric patch attached behind the breast pocket - Paterson, Powell & Sandford Pty Ltd. Quality Drapers Ballaratballarat school of mines, blazer, coat of arms, keith wylie -
Bendigo Military Museum
Newspaper - NEWSPAPER, 1945 Victory Edition Souvenir, The Herald, 1995
Jack KINGSBURY/ Born Northern W.A. 16 March 1916 Died 14 August 1983 Age 14 worked in gold mines at Kalgoorlie for som years then came to Bendigo/mines. He met and married Jessie PITTS in 1936. He enlisted in the airforce in 1941 and was studying to be a pilot when he retired. Cat No 5821,5822,5823 Leigh Joseph JONES/ Born Richmond 2 June 1922 to 18 March 1983. Married Dorothy Jean PITTS 18 March 1944. Applied to join the army but was too young. Returned to join as his fathers name Lewis John same initials and old enough. He served and was discharged as this name. He was aboard ship when it was discovered too late. He served in New Guinea. Post war he applied to have his service name corrected, he was a champion sports man, cycling, football, bowling. Awarded an imperial award for his work with Papua New Guinea “Newspaper- reprint of the The Herald original newspaper from MELBOURNE WEDNESDAY EVEING AUGUST 15, 1945 Black and white print and photographs on paper newspaper, military history, ww2 -
Bendigo Military Museum
Photograph - PHOTOGRAPHS WW1 - WW2, 9) Col H T ALLAN, 1) 11.11.1918; .3) c.Jul-Aug 1940; .4) & .5) c.WWII; .6), .7) & .8) post WWII; .9) - .16) 29.3.1958;
Herbert Trangmar ALLAN, refer Cat No 2755.4 for his extensive service records and awards. .3) Taken during his appointment to Headquarters of the Command & Staff School, 2nd Military District. .7) Col H T ALLAN former commander of the Pacific Islands Regiment. .10) See newspaper articles 3046.52 & 3046.53 a., b., c. .11) - .14) See newspaper articles 3046.52 & 3046.53 a., b., c. .16) The flap staff was donated by the Royal Papua & New Guinea Constabulary. See newspaper articles 3046.52 & 3046.53 a., b., c. Th photos are of various sizes with an average as per the size field. .1) Black & white full length photo of Capt Herbert T ALLAN, 17th Battalion, in Australian Army uniform from WWI, location unknown. .2) Black & white studio portrait of Herbert T ALLAN in suit & tie. Photo is mounted on cream card with a khaki border. Photo is secured in a cream card folder. .3) Black & white photo of a group of Australian Army Officers in uniform. Front row seated, rear / middle rows standing. Herbert T ALLAN seated front row 2nd from right. Headquarters of Command & Staff School in background. .4) Black & white photo of a battalion of soldiers marching down a street with sloped rifles & fixed bayonets. Battalion led by an Officer most likely to be Herbert T ALLAN. Solder on horseback in foreground. Civilian observers line the street. .5) Black & white photo of an Australian Army Officer, most likely Herbert T ALLAN, standing in front of a tent in New Guinea. .6) Black & white photo of Col Herbert T ALLAN seated, taken in New Guinea. .7) Black & white photo of Col H T ALLAN talking to 3 New Guinea natives who are possibly former members of the Pacific Islands Regiment. .8) Black & white photo of Col H T ALLAN & his New Guinean driver in an Australian Base Command jeep. .9) Black & white photo of New Guinean spectators at the opening of the Rabaul Ex-Servicemen's Club. .10) Black & white photo of Col Herbert T ALLAN with a group of PNG Ex-Servicemen. All are wearing medals. To the immediate left of Col Herbert T ALLAN is Raymond Martin, Club President. On wall behind is a rifle donated by Capt R CLAMMER of Rabaul Police. .11) Black & white photo of a presentation table to the Rabaul Ex-Servicemen, by the New Britain Boy Scouts. Club President, Raymond Martin is receiving the table with Colonel Herbert T ALLAN looking on. .12) Black & white photo of Rabaul Ex-Servicemen's Club President, Raymond Martin making a speech at the Club's opening with Colonel Herbert T ALLAN, a Naval Officer & a group looking on. Group is in front of PNG Rabaul Branch of Native Ex-Servicemen's Association building. .13) Black & white photo of the parade of PNG Ex-Servicemen, Boy Scouts & spectators at the opening of the Rabaul Ex-Servicemen's Club. .14) Black & white photo of Colonel Herbert T ALLAN inspecting a parade of PNG Ex-Servicemen at the opening of the Rabaul Ex-Servicemen's Club. .15) Black & white photo of the official party at the opening of the Papua & New Guinea Rabaul Branch Native Ex-Servicemen's Club. .16) Black & white photo of Colonel Herbert T ALLAN raising the Australian flag in front of a parade of PNG Ex-Servicemen, Boy Scouts & spectators at the opening of the Rabaul Ex-Servicemen's Club. .1) Handwritten on back: Armistice Day Nov 11th 1918. Hence the smile. .2) Printed on folder front: Portrait study by Howard Harris. Handwritten on back: Blue Allan. .3) On front: Handwritten 'X' below H T ALLAN. On back: Stamp of S J Hood photographer detailing order No 1. .5) Handwritten in pencil on back: Return to I Marsh Woolgoolga. .6) Stamped in blue ink on back: Photograph No MH 75552 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED .7) Stamped in blue ink on back: Photograph No MH 75553 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED Handwritten in pencil on back: Return to I Marsh Woolgoolga. .8) Stamped in blue ink on back: Photograph No MH 75556 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED photographs, articles, pacific, new guinea -
Geoffrey Kaye Museum of Anaesthetic History
Inhaler, Probyn Williams, Mayer & Meltzer, c. 1900
Hurley, Sir Thomas Ernest Victor (1888-1958) was gifted this Probyn Williams inhaler in 1914. After studying at Melbourne University, Victorian-born Hurley was a Medical Officer at the Royal Melbourne Hospital until he commenced private practice in Collins Street. He was appointed Captain Australian Army Medical Corps, AIF and served in Gallipoli with the 2nd Field Ambulance. He served in Enypt, London, and the Western Front during World War 1. He gained a Companion of the Order of St George and St Michael in 1917. Upon return to Melbourne he held positions such as surgeon to Victoria Police (1928-1956), elected to Council of the Victorian branch of the British Medical Association, member of the Charities Board of Victoria and foundation member of the Royal Australasian College of Surgeons and chaired the Flying Personnel Research Committee m a consulting surgeon at the Royal Melbourne Hospital. This apparatus is transitional between Clover's and Hewitt's having Clover's narrow "ways" and compact size, but using Hewitt's ether-control lever.Black round topped box with brass hooks [missing] at front and brass hinges at rear. The initials T.E.V.H. are printed in gold leaf on the front. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. The pear-shaped mask is made of metal. There is also a metal ether measure for pouring the ether. The metal inhaler is ovoid shaped. The rotating gauge has a series of numbers engraved onto the inhaler for measurement. There is an elbow joint attaching a re-breather bag, with a small amount of waxy paper remaining attached with a thin ribbon. There is a small glass bulb encased in a metal housing. Printed in gold leaf on front of box: T.E.V.H. •Printed in gold leaf on inside lid of box: MAYER & MELTZER / LONDON / MELBOURNE & CAPE TOWN •Engraved on side of inhaler: PRESENTED / TO / T.E.V. Hurley Esq.,M.D.M.S. / by / THE M.S.S. / 15.6.14. •Engraved on reverse side of inhaler: PROBYN WILLIAMS / ETHER INHALER •Moulded into connector on elbow joint: MAYER & MELTZER •Stamped into base of metal pourer: MAYER & MELTZER / LONDON •Blue sticker with white printed text on front of inhaler: O.2.21.hurley, thomas ernest victor, probyn williams, university of melbourne, world war 1, wwi, gallipoli, australian army medical corps, medical student society, mayer & meltzer, clover, joseph, hewitt, fredrick william -
Geoffrey Kaye Museum of Anaesthetic History
Anaesthetic machine, Minnitt, 1930 - 1937
This Minnitt machine was owned by Dr Mary Clementina DeGaris. Dr DeGaris qualified from medicine, MB BS, at the University of Melbourne in 1905. She continued her studies, becoming only the second woman in Victoria to qualify MD, in 1907. With the outbreak of war, DeGaris attempted to enlist as a doctor with the Australian Army but was refused. Undeterred she travelled to England, where she joined the Scottish Women's Hospitals for Foreign Service, a medical group made up entirely of women. After the war, she returned to Australia and set up practice as an obstetrician in Geelong, Victoria. Subsequently, the Geelong Hospital named a wing after her, "DeGaris House", which is now part of Geelong Private Hospital. DeGaris was awarded the St Saba medal, 3rd class, for her work during WWI. Robert James Minnitt introduced the concept of self-administered analgesia, using an apparatus designed and built in conjunction with London scientific instrument-maker, Charles King. The Minnitt apparatus met with considerable success and led to further modifications, including the introduction of the Queen Charlotte gas-air analgesia apparatus in 1936.Brown leather suitcase with brass locks and leather handle. Inside the case is metal equipment, with arms for attaching cylinders. On top of the case, located underneath the handle, is a small brass plate, bearing the name of the owner in black printed script on a piece of card or paper held inside the plate.Printed in black ink on name plate: Dr Mary C. De Garis.minnitt, geelong, scottish women's hospitals, world war i, obstetrician -
Melbourne Legacy
Document - Press Release 1975, Melbourne Legacy, It seemed like a miracle - just like having an invisible Mother and Father, 1975
A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'With Legacy's Help. It seemed like a miracle - just like having an invisible Mother and Father' and is about a young girl 'Betty' whose parents died leaving her in charge of three younger siblings. It dramatically changed her career prospects and struggled to care for them on her own. Since her father was a returned serviceman Betty contacted Legacy, and from then on it seemed like an invisible mother and father. Legacy helped with the financial burden and arranged medical and dental treatment for the children, brought them clothes and provided holidays and birthday presents.A record of how Legacy promoted their work in the 1970s.Green foolscap page x2 with black type of a press release in 1975.Title 'It seemed like a miracle - just like having an invisible Mother and Father'press release, case studies, orphans