Son of Jessie and Charles Ernest Barrie of Darlingsford Melton Married Marion Ferris at Christ Church Melton on 11th May 1939. They lived on the family farm at Ferris Road Melton. They had one son, Ian who has continued in farming in Melton. He served the community in the following – Shire of Melton Councillor Member for 32 years 1941 – 1970 Elected as Councillor for Melton South 1970 – 1973 Councillor for Rockbank 1943 – 1944 Shire President for three terms 1958 – 1959 ditto 1964 – 1965 ditto Council Representative: Bacchus Marsh High School and Western Suburbs Municipalities. Representative on delegation to prevent Melton post primary students being sent to Deer Park prior to the establishment of Melton High School. Melton Bush Fire Brigade 1941 Member Melton Bush Fire Brigade Registered No. 425 1942 1942 2nd Lieutenant 1943 – 1944 4th Lieutenant Country Fire Authority Rural Services Award 1963 20 Years Long Service Badge Scots Presbyterian Church Melton Member of the Board of Management 1947 – 1969 information from Annual Reports Tom farmed the family property with his father and brothers, and later the Ferris Road property which continued with his son Ian. His childhood interest in horses began with the draft horses kept at the bluestone stable and barn at Darlingsford. When the stables were empty in the late 1980s visit, he vividly recalled the names of the horses he had handled in his youth. When the draft horse became obsolete with the introduction of tractors and trucks this interest continued with the breeding and training of harness racers. Darlingsford Drafts and Ponies. Order of Stalls Clydesdales – Dick, Dolly, Flower, Nugget, Blossom, Lofty, Prince. Roger, Rose, Violet, Don, Beauty, Baldy, Diamond. Cart and Mounts Creamy, Digger, Popsy Black and white photographs of Tom Barrielocal identities

The first Bank of New South Wales building in Wodonga was located in a small cottage. The branch opened on 7 May 1872. At first it was conducted as an agency of the Beechworth branch. In October 1872 premises in Sydney road were purchased from Mr P. L. M. S. Chauncy for £650. When the bank commenced in the cottage the first account was opened in the name of Hillerman & Co, storekeepers, Wodonga. Another early account was in the name of William Huon, squatter of de Kerilleau, Wodonga. On 9 July 1873, the agency was converted into full branch under the management of Mr. Joseph Belcher. Other early accounts included Cronin & Callaghan, storekeepers; John Bassett Jnr, shoemaker; John Jennings, contractor; Ah Soon, tobacco grower, Kergunyah; John de Corney Ireland, collector of customs; Andrew Kyle, fellmonger; Rowan Lockhead, accountant; Alexander McKay, publican; George Pollard, farmer; Thomas Street, farmer; and Edmund Uren, gentleman, Buninyong. Organisations banking at the branch included Wodonga Building Society, 1873; Wodonga Mechanics Institute 1875; Wodonga Band Fund 1882; Talgarno Athenaeum, 1888; Talgarno Butter & Cheese Factory 1892; Wodonga Federation League 1893; Wodonga Brass Band 1895; Wodonga Benevolent Society 1895; Wodonga Fire Brigade 1897; Wodonga Rifle Club and Wodonga Racing Club in 1899 and Kiewa Polo Club in 1900. There were also numerous lodge and church accounts. The cottage was later renovated with a porch added in 1889 and an extension to the residence in 1898. The original house was eventually demolished to make way for a new bank and manager’s residence in Sydney Road in 1906. That building was again remodelled in 1969. It became a branch of the WESTPAC bank when the Bank of NSW and CBA Bank joined to become the Westpac Banking Corporation in 1982. After the building ceased operation as a bank, it has been the home to several businesses including a video store, a travel agency and a clothing store.These images have local significance as they record changes to a building which filled an important role in the commercial life of Wodonga.A series of photos both black and white and coloured which document changes in the former Bank of New South Wales building in Wodonga over time.Photo 1: On sign above verandah "BANK of NEW SOUTH WALES" Photo 2: On sides of building and above door: "BANK OF NEW SOUTH WALES" Photo 3: Above door: "HIRE/ VIDEO MADNESS/ SALES" Photo 4: Above door: "WODONGA TRAVEL"wodonga businesses, banking wodonga, bank nsw wodonga, businesses high street wodonga

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

A history of Canterbury Cricket Club from 1887. Each chapter dedicated to a decade through to the 1980's. Includes appendices and results, awards, achievements. 58p. photosA history of Canterbury Cricket Club from 1887. Each chapter dedicated to a decade through to the 1980's. Includes appendices and results, awards, achievements. 58p. photos(mr) simon gardiner, (mr) sid mackie, (mr) keith silvers, (mr) len larkin, (mr) clyde ingram, (mr) frank gion, cricket, sport, (mr) m nesbit, (mr) s bisset, (mr) w grubb, (mr) r falconer, (mr) f leach, (mr) - slater, "tuss" curtis, (mr) stan self, (mr) maurie webb, (mr) norm shores, (mr) geoff matthews, (mr) wally bates, (mr) t mackie, (mr) harry swan, (mr) r mcconchie, (mr) r vaux, (mr) a pearson, (mr) - walduck, (mr) mick maguire, (mr) bob trengrove, (mr) lindsay ridgwell, (mr) john mccarthy, (mr) ewan mccarthy, camberwell union cricket club, canterbury cricket club, (mr) s parry, (mr) w lauchlan, (mr) e yeomans, (mr) a cooper, (mr) h gates, (mr) - gittus, (mr) f sheppard, (mr) - walker, (mr) a abud, (mr) - bishop, (mr) a leach, (mr) - edgoose, (mr) - allan, (mr) a brooks, (mr) c swan, reporter competition, north balwyn, mont albert, (mr) s stevens, (mr) j carlson, (mr) c yeo, (mr) e hosken, (mr) j smart, (mr) n booth, (mr) l warmbrun, (mr) a webb, (mr) w lachlan, deepdene, canterbury, box hill, surrey hills, eastern suburbs cricket assoc., (mr) t alway, (mr) a briggs, (mr) k silvers, (mr) n thackeray, (mr) r rudd, (mr) c ingram, (mr) r littlefield, (mr) (cr) r dimmick, (mr) g guiver, (mr) t cameron, (mr) ian coles, (mr) gerry hegarty, 1960-1969

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) 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.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available

This photo was taken in the 1960s from a northeast position looking down towards Lake Sambell, the caravan park, and the surrounding area. This photo was taken during a period of rejuvenation for the lake area including the opening of the caravan park in 1959 and the swimming pool area in 1961 (this pool is just visible in the centre of the photo). The popularity of caravanning in Australia exploded during this post-war period of the late 1950s and 1960’s. This popularity was driven by multiple factors, including: the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Lake Sambell is an artificial lake that was developed on the previous site of the Rocky Mountain Mining Company workings and was officially opened by Minister for Lands, Mr Baily, on October 5, 1928. The disused and unattractive remains of the mine were converted into a recreational area intended for swimming, boating, and fishing. The lake is named after Mr L.H. Sambell, shire engineer and secretary of the Forward Beechworth Committee, who advocated for the enhancement of Beechworth into a tourist destination and was central to the planning and establishment of the lake. Funding for the project was raised by both competition funds and donations. Since the construction in 1928 several engineering issues have arisen. In 1939 the water levels were low, and the lake was considered both an eyesore and ‘mudhole’, Beechworth Shire Council sort funding to raise the height of the lake six feet to improve the quality of water. Throughout the 1940s the Beechworth Swimming Club tried to raise awareness and funds to address the structural engineering issues and improve swimming facilities at the lake. R.E. Carter, similar to L.H. Sambell, was a shire engineer who advocated the importance of positioning Beechworth as a tourist destination. Carter held the position from 1954-63 and organised many improvements to the Lake Sambell area including the caravan park in 1959, the lake swimming pool in 1961, water skiing and boating facilities, and increased the lake surface are in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. This photograph is of historical significance as it documents Lake Sambell and the surrounding area in the 1960s after a phase of enhancements to improve the appearance and usability for both the people of Beechworth and tourists. It is also of social significance in providing an insight into the increase in leisure time and access to travel during a period of post-war prosperity.Black and white rectangle photograph printed on matte photographic paper and unmounted.Reverse: 1 / [logo KODAK/ VELOX/ PAPER] / C798 / 3535lake sambell, lake sambell caravan park, lake sambell swimming pool, caravan park, caravanning 1960s, rocky mountain mining company, l.h. sambell, r.e. carter, beechworth swimming club, forward beechworth committee, minister of lands, tourist development authority, lake swimming, swimming, boating, fishing, water skiing, beechworth 1960s, lake sambell fishing, lake sambell boating

Kagawa, Toyohiko (1888-1960) Japanese evangelist and social movement leader Kagawa was born in Kobe to Kame and Junichi Kagawa. In lonely years following the death of his parents at age four, he met Harry W. Myers and Charles A. Logan, missionaries of the (Southern) Presbyterian Church, U.S., and was baptized by Myers on February 14, 1904, at the Tokushima church. He pursued theological study at Meiji Gakuin in Tokyo and Kobe Theological Seminary. During his student days in Kobe he moved into the Shinkawa slum to serve the physical and spiritual needs of some 7,500 people. Between August 1914 and May 1917 Kagawa studied in the United States at Princeton Theological Seminary and then became involved in labor and peasants movements in Japan and in organizing religious programs, with the Jesus Band of Kobe as the base of his work. In 1921 Kagawa organized the Friends of Jesus. This Franciscan-like band of young people strove for spiritual discipline, compassion for the poor, and an evangelical life of witness. When Tokyo suffered a massive earthquake in 1923, he shifted the main emphasis of his work to that city. He promoted economic cooperatives in Japan and peace and social reform programs before and after World War II. Kagawa was a prolific writer. Most of his writings are collected in the twenty-four volume Kagawa Toyohiko Zenshu (The work of Kagawa Toyohiko) (1964). His theological focus was on the redemptive love of God, manifest in the life of Jesus Christ, to whom people can commit themselves through a mystical experience of faith and intellectual creativity. Kagawa was known more as a Christian social reformer than as a religious leader both in and out of Japan, but he was fundamentally an evangelist throughout his life. Robert M. Fukada, “Kagawa, Toyohiko” in Biographical Dictionary of Christian Missions, ed. Gerald H. Anderson (New York: Macmillan Reference USA, 1998), 350. This article is reprinted from Biographical Dictionary of Christian Missions, Macmillan Reference USA, copyright © 1998 Gerald H. Anderson, by permission of Macmillan Reference USA, New York, NY. All rights reserved. B & W informal photograph of the Rev. H.C. Matthew and Toyohiko Kagawa standing in front of the door to Captain Cook's Cottage in the Fitzroy Gardens, Melbourne. "Melbourne May 19th or 11th 1935. H.C. Matthew & Toyohiko Kagawa standing by the cottage recently removed to Australia & re-erected in Melbourne Botanical Gardens in which Captain Cook was born."toyohiko kagawa, h.c. matthews, captain cook's cottage, friends of jesus, christian missions.

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. Likely Silverplate due to the intensity of the tarnishing of the metal, with indecipherable hallmarks on the handle, the method of production and the maker mark are unclear. The delicate swirling fernlike motif on this particular butter knife appears to be stylised in either Art deco the decorative arts and craft style favoured in Europe between 1880-1930's and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This butter knife represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food, he buttered his bread and he did it with a wonderfully decorated silver butter knife.A tarnished metal butter knife with engraved and embossed spiral fern details on the knife and handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen, cutlery, butter knife, knife, silverplate

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Artist Leonard French said of this work:- "The centre panel suggests a tree of knowledge growing out of a jewelled fish (a spiritual accompaniment is intended), and from the tree birds rise, spreading out through the cloud shapes of the other panels. Hands and figures rise from the earth, reaching for the birds. The left hand panel depicts the journey of figures in a boat, the seeking after or journeying to the source of knowledge. The far right hand panel is the garden, figures in a primitive state, a sort of evolution of figures from a primitive garden (the first garden). Visualization, verbalization, music and dance are tools we have to express a concept. The analysis of an art work is a delicate and sensitive task and great harm can be done in an attempt to become verbal about a form which relies upon elements peculiar to itself for intrinsic meaning." Leonard FRENCH (OBE) (08 October 1928 - 10 January 2017) Born Brunswick, Victoria Died Heathcote, Victoria Known for his enormous dalle de verre (concrete and slab glass) ceiling in the Great Hall of the National Gallery of Victoria Leonard French produced a large body of work throughout his lifetime. French won the Sulman Prize in 1960, and the Blake Prize for Religious Art in 1963 and in 1980. He was also awarded a Harkness Fellowship in 1965. In the Queen's Birthday Honours of June 1968 he was appointed an Officer of the Order of the British Empire. In early 1959 Leonard French was commissioned by the Ballarat Teachers' College students to paint a mural. The students were responsible for the payment of the work. When unveiled artist George Bush remarked: "the 1959 students have left something not just to 'oooh' and 'ah' at, but something that is thought provoking, arresting and interesting. This work of art keeps something in reserve and draws you to search for deeper meaning behind the splendour of colour. This mural is not one which will not fade the interest of its beholders, but one which will provide intrigue for generations to come." Originally French intended the mural to be five panels, each entitled (left to right) 'the Journey', 'Man', 'The Tree', 'The Earth', 'The Garden'. The finished mural was reduced to four panels with the central tree incorporated into the panels 'Earth' and 'Man'. Ballarat Teachers' College Art lecturer Arch Cuthbertson explained that the artist:- "Aims at evoking emotional flashed, opening doors to simultaneous thinking and feeling. To accomplish this he juxtaposes the threads of conscious and unconscious images, thus effecting a tapestry that allows many points of reference to converge upon his singular images. Whether the colours offer metaphysical sensations or convey a literal meaning will depend upon the breadth and depth of the viewer's experience. Similarly with the bird - we might well ask is it a defiance of gravity, a metaphysical ascension or the elusive winged knowledge? Again the answer could well be that these three associations have a singular purpose. " 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.A four panel mural by Leonard French, commissioned and gifted by the Ballarat Teachers' College Student in 1959. Art lecturer Arch Cuthbertson was highly involved in this commission. Artist Charles Bush unveiled the mural at the Ballarat Teachers' College in Gillies Street, Ballarat. At that time he said:- "You have left behind you on object which will be full of interest to a lot of people. A work of art, so long as it is in existence, is constantly under review. Most of the good things that keep on going are usually to the uninitiated a little worrying. Many of you will be worried by this, because it does not make its message immediately clear. But come back and assess it again and again." art, leonard french, french, artwork, mural, ballarat teachers' college, class of 1959

This is a framed receipt in the name of Skippy St. Elmo for completion of the Ski Club of Victoria Junior test for ski instructor. The test was completed on 25 August 1945 at the Scout Hall, Bogong High Plains. The receipt was found inside the cover of a typed manuscript. Mavis Grace Lindsay (Skippy) born in 1917 and married Tony St. Elmo in Ballarat on 18 December 1944. She was known as “Skippy” from childhood. They moved from Melbourne in 1945 and spent the year living in Wallace’s Hut. Toni was employed by the State Electricity Commission to record weather-related data. They were to become responsible for early developments at the Falls Creek resort and for promoting a love of skiing. Toni taught Skippy to ski and she practised on the High Plains where she and her husband lived. entering her in the first club championships held by the Bogong Ski Club at Rocky Valley, which he had established. Skippy St Elmo won many ski races during the 1950’s and represented Australia in New Zealand. In 1947, the first ski lodge was built by six SEC employees including Toni St Elmo. The lodge was named “Skyline”. In 1957, Toni was involved in building the first rope tow at Falls Creek, called Nissen. He also established the Nissen Ski School. In 1949, Skippy won the Downhill and Combined State Championship held at Mt Buller. In 1950, Skippy was selected to compete in New Zealand with the Victorian team to compete in New Zealand Skippy trained with the men at the Bogong Ski Club and that fact became a talking point in 1953 when the Albury Ski Club held an Open Championship and Skippy won in giant slalom and downhill. She went on to win many more races. In 1960, Skippy and Toni said farewell to Falls Creek. Skippy passed away in Queensland in July 2005 and Toni passed away in the September of the same year. In November 2006 the pair was honoured at the Alpine Village at Falls Creek by the spreading of their ashes over Eagle Rock.This certificate is an early document belonging to Skippy St Elmo, a pioneer of Falls Creek.Framed marking sheet for a Junior ski test for Ms Skippy Elmo at Bogong High Plains on August 25 1945. The test sheet is attached to a white backing paper which has 'My First achievement....skiing. Bogong High Plains' typed on it. The sheet has been framed for displau.skippy st elmo, ski instructor test, ski club of victoria, bogong high plains

Considered in terms of both loss of property and loss of life, the Black Friday bushfires on 13 January 1939 were one of the worst disasters to have occurred in Australia and certainly the worst bushfire up to that time. The fires burnt 2 million hectares, 69 sawmills were destroyed, 71 people died, and several towns and sawmills were entirely obliterated. Among those killed were four men from the Commission The subsequent Royal Commission conducted by Judge Leonard Stretton has been described as one of the most significant inquiries in the history of Victorian public administration. Its recommendations led to sweeping changes. In addition to building dams and water points, the Stretton Royal Commission recommended expanding and controlling the use of bushfire dugouts at forest sawmills. Well-constructed dugouts had saved the lives of many sawmill workers and their families during the 1939 bushfires. But in some locations, they had proved fatal. Dugouts became mandatory for those few sawmills that remained in the forest after the 1939 fires. Many remote logging coupes and FCV roading camps also had dugouts. The local District Forester was required to make annual pre-season inspections of all dugouts on State forests and those within the Fire Protected Area (FPA). Some were built privately on private land. Most were primitive construction with a log or corrugated iron roof covered with earth. A hessian bag often hung at the entrance to keep the heat and smoke out. But they were dark and damp with snakes and other creepy crawlies often lurking inside. By 1940-41 there were 19 new dugouts constructed by the Commission and a further 128 by forest licensees. Ten years later there were 8 new Commission dugouts and 21 new ones built by other interests. By 1960-61 the rate of new builds was declining but the Commission still managed 103 dugouts while 127 were looked after by others. However, as the forest road network improved and gave all-weather access to modern two-wheel-drive vehicles the reliance on dugouts receded.Large metal sign that was positioned near forest dugoutsbushfire, forest signs, forests commission victoria (fcv)

Stawell Musical Ensemble put on a series of musical concerts in Stawell from 1960's Now called Stawell Performing Arts SHS7183-1 K McGregor J Poole Ian Mc Gregor Joanne Craig SHS7183-2 Stan Rae, Ian Mitchell, Chris Baulch, Betty Collins, Doug Bosher, Bill O'Driscoll, Daryl Meek, Ron Winton Joanne Craig, Jodie Holwell, Daryl Mair, Max Castle, Darren Murrell SHS7183-3 Terri Holwell, Mrs.Craig, Jan Bosher, Barb Gronert SHS7183-4 Reg Bartlett Ian McGregor Rod Tonkin Wallis Henderson SHS7183-5 c.1990 Make up area Supper Room Pirates Gary Middleton, ??, Doug Bosher, Ron Winton, Peter Byass, ??, Ian Mitchell(seated), Rod Tonkin, teenage girl Poole SHS7183-6 1986 Chris Baulch, Ian Mitchell, ??, Joanne Craig, ??, Gary Middleton, Daryl Mair, Rod Tonkin(kneeling), Stan Rae, Max Castle, ??, ??, Andrew Cunningham (back view), Ian Mitchell Joyce Gyles conductor SHS7183-7 Heather Beagley Anna Baulch Fran Stewart SHS7183-8 1986 Pirates of Penzance Peter Byass Darren Murrell Stan Rae fr unk Joanne Craig SHS7183-9 Rod Tonkin, Jan Bosher, Max Castle, ??, Barb Gronert SHS7183-10 c.1990 J Gyles conducting, Terri Holwell, Anna Baulch, Liz Castle, Jan Bosher, Pat Pickering, Barb Gronert, Bev Martin, Heather Beagley, ??, Rod Tonkin SHS7183-11 Betty Collins, May Hall, Terri Holwell, Anna Baulch, Hazel Lewis, Carol Honey, Lyn Seng Hpa, Barb Gronert, Bev Martin, Robyn Moore, Heather Beagley, ?? SHS7183-12 1986 Pirates of Penzance Liz Castle Bill O'Driscoll Pat Pickering Peter Byass Marie Maddern Rod Tonkin Gwen Anderson Reg Bartlett Jan Bosher Twelve colour photographs of Stawell Musical Ensemble players in plastic pocketsentertainment

E.J.T. Tippett was a long term President of the Ballarat School of Mines Council.Colour photograph of E.J.T. Tippett in his home, surrounded by an framed illuminated address and a Ballarat School of Mines shield. The illumination reads: 'The Council, by resolution, hereby appoints you Patron of the School of Mines and Industries Ballarat. In so resolving, the Council is mindful of your lifelong association with the School in many capacities, and the distinguished contribution you have made to Technical and Further Education in this State. It is considered appropriate that this unique contribution be recognised by the appointment. A student at this School from 1918 to 1920, you were elected to the Council in 1934 and have maintained continuous active membership for fifty years, serving also on the Ballarat C.A.E. Council. Your remarkable service to the School included President of Council from 1940 to 1960, during which years your leadership contributed to the growth and stature of the School. As a member of the Interim Council established to plan the development of the Victoria Institute of Colleges, as a member of the COuncils of the Victoria Institute of Colleges and Monash University and as President of the technical Schools' Association of Victoria, you have given generously of your time and expert ability in the furtherance of education in Victoria. Your contribution to the development of this School has been perpetuated by the naming of the E.J. Tippett Recreation Hall in 1959 and the E.J. Tippett Library in 1978. The establishment, through your gift of an endowment fund, of the Ronaldson Brothers and Tippett Founders' Prize has provided a permanent link between the school and the early established Ballarat engineering firm of which you were Managing Director. The City of Ballarat has recognized your efforts in establishing the annual presentation of Craftsman Certificates. Your distinguished services to education has been recognized buy the State Government by awarding you the M.B.E. in 1975. The Council, Staff and Students humbly thank you for your magnificent contribution to the continuing development of this School. Given under the Common Seal of the School of Mines and Industries Ballarat, this eighteenth day of July, 1984.e.j.t. tippett, illumination, ballarat school of mines

Easter in Bendigo, Official Program1983. Premier Town Victoria 1982-85. Easter In Bendigo '83 Welcome to the 1983 Easter Fair. This is a special time for Bendigo. . . The Fair has a long history bating back to 1871. . . Bendigo Base Hospital, Home and Hospital for the Aged or Benevolent Asylum. . . Back in the 1800s. Gone are the days of the ladies' Fancy Bazaar, Fat Baby Contest, Greasy Pig Chase. . . Many old traditions remain. . . Bendigo's links with the Chinese community go back to the dates when the first settlers arrived seeking gold. The Chinese took a very active part in the fist Fair. . . Monday Procession has always been the most famous as many old photographs show. Some of these photos date back before the turn of the century. In those days many people made the journey to Bendigo by train from Melbourne or by horse and buggy from outlying districts.. . ''Sun Loong'', or ''New Dragon''. . . Horse and Harness Parade a great success each tear attracted an immense variety of horses and horse drawn vehicles. . . Torchlight Procession on Sunday Sports Carnival Fireworks. . . Easter Monday requires precise planning and discipline if it is to run smoothly. A volunteer committee meets through the year to see that this happens. The Popular Girl Contest was introduced in 1930, the four main Streets of Bendigo, Pall Mall, Mitchell Street, Hargreaves Street and Williamson Street (formerly View Street), sponsored a popular girl by means of fund raising events. Winner was announced from the Shamrock Hotel balcony Easter Saturday night by the Mayor of Bendigo. The contest is still being held. . . The Shamrock Hotel now fully restored and reopened. . . Sunday night special ceremony, in time for the winning Popular Girl to take pride of place in the Procession. . . The accent is on the cycling. The Easter sports Carnival dates back to the beginning of the Fair in 1871, seven years before the start of the famous Stawell Gift. Sid. Paterson, Hubert Opperman. . . Golden Mile Wheelrace, the final on Monday night. AFT Amateur Madison, woodchopping, boomerang throwing and gala fireworks Sunday and Monday. This year for the first time the Golden Mile goes Pro/Am, an Open event for the first time. This could see the first clash between Danny Clark and Kenrick Tucker. Hopefully Michael Grenda, Tony Hughes, Michael Turtur will also be starters against leading professionals, Terry Hammond, Murray Hall and Ross Forster. The Golden Mile has been conducted every year since 1956 when it was won by John McDonough. Ron Grenda (Tas) won in 1959, Barry Waddell was the first scratchman to win in 1962 and Frank McCaig (Bendigo) has won the event three times in 1963/5/7. The event carries total prize money of $3000 making it (with Wangaratta Wheelrace) the richest Wheelrace in Provincial Victoria. . . Newly completed Hargreaves Mall being a focus for all this activity. . . Rotary Art Show and Easter Fair Society amalgamated their art shows resulting in a combined exhibition of outstanding quality, since then the Rotary Club has added the Antique Fair. The Handcraft Bazaars, a more sophisticated version of the bazaars of old, offers. . . The Bathtub Derby at Lake Weeroona, Music Festival at Queen Elizabeth Oval. . . Easter Fair of 1871 was almost washed out. . . Necessary top abandon the ''Golden Mile'' Wheelrace on two occasions 1960 & 1979. . . 1983 Official Programme, Good Friday April 1, Saturday April 2, Sunday April 3, Monday April 4, Tuesday April 5. . . Holy Week Ecumenical Services: . . The Chinese And The Bendigo Easter Fair, 3 pages on the history of the chinese involvment in the Bendigo Easter Fair. . . A Little Of Dragons: brief history on chinese and dragons. Sun Loong, Yar Loong. The Birth Of A Dragon: In China a story of the birth of a Dragon. . . Such Trial was set a group of Bendigo Businessmen led by Mr A Guy and comprising MR C Michelsen, Mr L Chon, Mr J Granter, Mr J Henderson, Mr B Andres. In 1969 they formed the ''Loong 100 Committee''. The purpose of the committee was to purchase a dragon to replace the ageing Loong, from donations raised. But who could build a worthy successor to the Great Loong? In Hong Kong a 47 year old dragon builder whose traditions and craft came from the famous dragon building city of Fat Shan on the Pearl River, near Canton where Loong was born. Mr Law On created the famous Sun Loong in his tiny 4x4 metre workshop in Hong Kong. . . 1970 Sun Loong was blessed and brought to life by 101 year old Mr James Lew, dotting his eyes with chicken blood. . . To Awaken A Dragon Dragons tend to sleep a lot and are quiet deaf. . . The Dragon is blessed and fed with pomolo leaves then the process of wakening begins with drums. . . 5000 crackers. The Easter Monday Chinese Procession have a long and varied history in China. The Bendigo Procession is no exception to this. In recent years much research has gone into . . The Procession may be divided into six sections. . . Dragon built in 1969 First Displayed in 1970, length-300ft plus, Extra 100ft added in 1980, number carrying: Head 1 plus 5 releifs, Neck 3, Body 52 plus 52 reliefs, head weight 63 lbs. tail weight 36 lbs.. Scales 4,500 approx. Mirrors 90,000 fins 50, beads 30,000 approx. . . Conclusion. . . Advertisements: Bendigo Pottery, Square Deal Cars, Bob Bell of Borough Bricklaying Pty Ltd, Pinups Wine Bar, Cumberland Hotel, Manchester Arms Hotel, British & American Hotel, Langley Hall BYO Restaurant, White Horse Hotel, Ascot Lodge Caravan Park, The Lemonade Factory, The Pepper Pot, M & M J Meade Mobil, Lakeview Motor Inn Restaurant, Truffles Restaurant, Marong Hotel, 4 Penny Dark BYO Restaurant, Chaplin's Coffee Shoppe, Copper Pot Restaurant, Skins of Australia, Central Deborah Gold Mine, Chris Wall Auto Sales, Brian Boru Hotel, The Green Carnation, Sandhurst Town, Dragon Court BYO Chinese Restaurant, Australian Fixed Trust Investors Services Ltd., The Mohair Farm, Bendigo Model Railroaders, Mexican Kitchen Restaurant, BP Super Shops, Coke, Southern Cross TV8.event, easter fair, bendigo easter fair society, easter in bendigo, official program1983. premier town victoria 1982-85. easter bendigo '83 welcome to the 1983 easter fair. this is a special time for bendigo. . . the fair has a long history bating back to 1871. . . bendigo base hospital, home and hospital for the aged or benevolent asylum. . . back in the 1800s ladies' fancy bazaar, fat baby contest, greasy pig chase. . . many old traditions. . . bendigo's links with chinese the first settlers arrived seeking gold. the chinese took a very active part in the fist fair. . . monday procession the most famous as many photographs show, the turn of the century. many people journey to bendigo from melbourne & from outlying districts.. . ''sun loong'', or ''new dragon''. . . horse and harness parade an immense variety of horses, horse drawn vehicles. . . torchlight procession on sunday sports carnival fireworks. . . easter monday precise planning and discipline to run smoothly. a volunteer committee meets through the year. the popular girl contest introduced in 1930, sponsored a popular girl by means of fund raising events. winner announced from shamrock hotel balcony easter saturday night by the mayor. . . the shamrock hotel now reopened. . . sunday night special ceremony, in time for the winning popular girl to take pride in the procession. . . accent is on the cycling. the easter sports carnival dates back to fair in 1871, seven years before stawell gift. sid. paterson, hubert opperman. . . golden mile wheelrace, final on monday night. aft amateur madison, woodchopping, boomerang throwing, gala fireworks sunday& monday. for the first time golden mile goes pro/am. danny clark and kenrick tucker. michael grenda, tony hughes, michael turtur will also be starters against leading professionals, terry hammond, murray hall and ross forster. the golden mile has been conducted every year since 1956, won john mcdonough. ron grenda (tas) won 1959, barry waddell the first scratchman to win 1962, frank mccaig (bendigo) has won 1963/5/7. prize money of $3000 making it (with wangaratta wheelrace) the richest wheelrace in provincial victoria. . . newly completed hargreaves mall. . . rotary art show and easter fair society amalgamated art shows, antique fair. handcraft bazaars, . . the bathtub derby lake weeroona, music festival queen elizabeth oval. . . easter fair of 1871 was almost washed out. . . necessary top abandon the ''golden mile'' wheelrace on two occasions 1960 & 1979. . . 1983 official programme, good friday april 1, saturday april 2, sunday april 3, monday april 4, tuesday april 5. . . holy week ecumenical services: . . chinese and the bendigo easter fair, . dragons: brief history. sun loong, yar loong. in china a story of the birth of a dragon. . . bendigo businessmen mr a guy, mr c michelsen, mr l chon, mr j granter, mr j henderson, mr b andres. 1969 formed ''loong 100 committee'' purchase a dragon to replace ageing loong, donations raised. build successor great loong? hong kong dragon builder traditions craft came from dragon building city fat shan on the pearl river, canton where loong was born. mr law on created the famous sun loong in his tiny 4x4 metre workshop in hong kong. . . 1970 sun loong was blessed and brought to life by 101 year old mr james lew, dotting his eyes with chicken blood. . . to awaken a dragon dragons tend to sleep a lot and are quiet deaf. . .dragon is blessed fed with pomolo leaves wakening begins with drums. . . 5000 crackers. the easter monday chinese procession have a long and varied history in china. the bendigo procession is no exception to this. in recent years much research has gone into… procession may be divided into six sections. dragon 1969 first displayed in 1970, length-300ft plus, extra 100ft added in 1980, number carrying: head 1 plus 5 releifs, neck 3, body 52 plus 52 reliefs, head weight 63 lbs. tail 36 lbs.. scales 4, 500 approx. mirrors 90, 000 fins 50, beads 30, 000 approx. advertisements: bendigo pottery, square deal cars, bob bell of borough bricklaying pty ltd, pinups wine bar, cumberland hotel, manchester arms hotel, british & american hotel, langley hall byo restaurant, white horse hotel, ascot lodge caravan park, the lemonade factory, the pepper pot, m & m j meade mobil, lakeview motor inn restaurant, truffles restaurant, marong hotel, 4 penny dark byo restaurant, chaplin's coffee shoppe, copper pot restaurant, skins of australia, central deborah gold mine, chris wall auto sales, brian boru hotel, the green carnation, sandhurst town, dragon court byo chinese restaurant, australian fixed trust investors services ltd., mohair farm, bendigo model railroaders, mexican kitchen restaurant, bp super shops, coke, southern cross tv8.

Guests at the West Riding Hall, Henry Petrie Community Centre, Montmorency on the occasion of a buffet dinner as part of the Shire of Eltham centenary celebrations. Left: Mr Higgins, Methodist Minister, Eltham and Mrs Higgins and Brian & Irene Robertson, both Captains in the Salvation Army. Reverend William ‘Bill’ Leslie Higgins (b. 15/1/1925, Renmark, Victoria, d. 18/10/1998) and Mrs Ella May Higgins (née Leersen b. 3/11/1921, Avoca, Victoria, d. 24/5/2003). William was ordained to the Methodist Church of Australia on September 1, 1959. Bill and Ella were involved with many communities throughout Bill’s full-time service until 1989. These parishes included Underbool, Wycheproof, Drysdale, Wonthaggi, South Yarra, Eltham, Nathalia, Murchison and Seymour. Bill and Ella touched many thousands lives during their ministry. Bill passed away in 1998 while assisting with a Sunday evening service near Drysdale, and Ella continued to dedicate her time to others until her death in 2003. Information received via Brian and Irene Robertson's son, Mark (15 Dec 2023), noted that in 1969 they lived in Prahran and by 1971 they would have been appointed to Briar Hill (now Greensborough). Brian Robertson's parents and at least one set of his grandparents were also Salvation Army officers (primarily from Victoria), whilst Irene was originally from Perth and she had 2 other sisters that became Salvation Army Officers as well. Irene also had 3rd sister and younger brother who were linked to the Salvos (as was Brian’s brother). After several years in church work, Brian and Irene transferred over to the Social Services branch of the Salvos and worked with homeless men, broken families, drug & alcohol dependent clients (similar to what Brendan Nottle does in Burke St), family stores and eventually seniors (nursing homes). Brian, known as Robbie passed away in 2013, and Irene is currently living in a retirement unit. [Dedc 2023]This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, shire of eltham, shire of eltham centenary, henry petrie community centre, centenary celebrations, buffet dinner, higgins, rev. william (bill) higgins, ella may higgins (nee leersen), salvation army, brian robertson, irene robertson

This Rostrum lapel badge is one of a set of badges collected by Dr W R Angus from the organisations in which he was involved. The set of badges is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, surgeon and oculist. This badge represents the Rostrum organisation, the longest-running public speaking organisation in the world. Rostrum has a Warrnambool branch, Warrnambool Club 24, which currently meets at the rear of the South Warrnambool Presbyterian Church building at 11 MacDonald Street, Warrnambool. The original Rostrum club was formed in England in 1923 and the first Australian Rostrum meeting was in 1930. The maker, Angus & Coote, is an Australian company that was founded by Edmund James Coote in Sydney in 1895. The firm made insignia during WWII and is famous for its high-quality jewellery. The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It 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. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus 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. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This badge is significant for connecting Doctor Angus with organisations that he supported. The badge also associates Dr Angus with the Rostrum Club in Warrnambool. The badge is of interest as the maker, Angus & Coote, only made badges during WWII. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Lapel badge; a square gold-coloured metal and blue enamel badge. The blue enamel covers three-quarters of the top of the square badge and has a bold 'R' embossed onto it. The remaining quarter is gold with the organisation's name in blue letters. The maker's name is embossed on the back. The Rostrum badge was made by Angus & Coote.This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.Front “R” above “ROSTRUM”. Reverse; “ANGUS & COOTE”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, w.r. angus, badge, organisation badge, flagstaff hill maritime museum and village, badges, buttons, lapel badge, rostrum, warrnambool club 24, angus & coote sydney, rostrum club 24, public speaking club, rostrum lapel badge, wwii badge, 1939-1915

This sewing kit was issued to W.R. Angus during his Military Service in WWII. It is sometimes referred to as a soldier's ‘housewife’ and includes items necessary for mending and adjusting a soldier’s clothing and other fabric items. Earlier Army issue sewing kits were made of leather but were subject to deterioration due to holding moisture if they became wet. The sewing kit is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus (1901-1970), surgeon and oculist. Dr W R Angus was a Surgeon Captain for the Australian Defence Forces, Army Medical Corps, stationed in Ballarat, Victoria, and in Bonegilla, N.S.W. He completed his service just before the end of the war due to suffering from a heart attack. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It 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. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus 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. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This item is significant in Australia's War History and its connection with local history. It aids in understanding life in the military and the changes to normal life. Dr W R Angus (1901-1970), surgeon and oculist, collected a range of military objects including those he personally used during his time as Surgeon Captain in the Australian Defence Forces in World War II. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Australian Army sewing kit, WWII era. A rectangular khaki cotton fabric pouch with pockets containing sewing needles, threads of various colours, a thimble and a reel of cotton. The pouch rolls up and is secured with its own ties. It has a handwritten inscription. The cloth patches belonged to Dr W R Angus and are now part of the W. R. Angus Collection."W.R. ANGUS"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, w.r. angus collection, australian army, surgeon captain, ballarat, bonegilla, world war 2, second world war, australian defence forces, army medical corps, australian army medical corp (militia), ww 2, ww ii, aamc, sewing kit, sewing roll, housewife, clothing repairs, military equipment, army issue

The stencil set has signs of use, with ink on the metal and paper stencils, and in the mixing lid and the block and tube of ink have been used too. The larger brush in this set is labelled "rubber set". The phrase is not to be confused with the 1900-1950s firm Rubberset but ''rubber set" is the process of setting the bristles of a brush into rubber to keep them together and hold them in place. This stencil set once belonged to Dr William Roy Angus. He habitually labelled his possessions with his name - this stencil set may have been used for that purpose. This set is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, 1901-1970, surgeon and oculist. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It 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. During World War II He served as a Military Doctor in the Australian Defence Force. Dr Angus 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. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This stencil set is an example of objects belonging to Dr. W. R. Angus, 1901-1970, surgeon and oculist. It shows the keeness of the owner to label his posessions. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Stencil set with 27 metal cut stencils of the 26 letters of the Alphabet plus an ‘&’, and a metal clip to hold the set together (.1 - .28). The set also has two wooden handled brushes (large with a purple band .29, small with grey band .30) a solid block of black ink and a tube of black paint (.31 and .32) in a green tobacco tin, and a round metal lid used for mixing the inks. The set is contained in a vintage wooden cigar box with a hinged lid. Another stencil (8452.33) is made from stiff waxed paper and reproduces the medical symbol [serpent wound around a rod or cross]. This set is part of the W. R. Angus Collection.Stamped on a large brush "PURE BRISTLE" "RUBBER SET" and a logo (looks like the head of an animal) On small brush "- - - ER" On the wooden box lid and inside the lid "EL VUELO" within a round logo with leaves, "MANILLA LEAF" and on the long side "PERLAS" "25" On wooden box end handwritten in pencil "STENCIL" On ink in a tin "The "GREYS" "SILK CUT VIRGINIA TOBACCO" On the round lid "‘Cellona’"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, dr ryan, w.r. angus collection, stencils, stencil set, bristle brushes, rubber set brush, metal stencils, waxed paper stencil, black ink block, black ink tube, stencil ink, labelling equipment, el vuelo, manilla leaf cigars, the greys, virginia tobacco, silk cut virginia tobacco

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Studio photograph of Bert, a cousin of the Figuerola sisters. The photo was in the family photo album of the artist. "Cousin Bert age 12 mths"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'.alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Professional photograph by K Lerfiniere Ross of the artist Alma Figuerola holding her pet pekingese dog, 'Rebecca'. "Proof only. This proof remains the property of the photographer K Lerfiniere Ross and must be returned No 137-1"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Photograph of an oil painting of a woman which may be of Alma Figuerola. The photo was in the personal photo album of the artist. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Cropped photo shot of Alma Figuerola at an art exhibition. The photo was in her personal photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Alma Figuerola, sitting on a rustic seat in what is probably her garden at her home D'Estaville, in 1950. She is nursing her pet pekingese 'Rebecca'. The photo was included in her personal photo album. "Rebecca and Alma, 1950"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Alma Figuerola in the garden of what is probably her home D'Estaville, with her pet pekingese 'Rebecca'. The photo is from her personal photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.The east side of D'Estaville (built for Sir William Stawell). It was the home of the Figuerola sisters from the 1940s to the 1990s. The large ground floor room at centre was used by the artist as her studio. The photograph is from the Alma Figuerola photo album. alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)