"Strathtulloh, 1402-1600 Greigs Road, Melton South, is significant as an early property in Victoria, retaining different eras of pioneering dwellings, ranging from a ruin to a fine Colonial style homestead. The property has close historical association with the early settlement of the Melton district, and was owned by the Henty family in the 1840s. The Strathtulloh property was alienated by the Crown in 1840 to Charles James Garrard, who sold it in 1848 to Charles and Stephen Henty, whose sister Jane and her husband Samuel Bryan lived there in the late 1840s. In 1853 the property then passed to William Tulloh, after whom the homestead was named. A primitive bluestone ruin of near the Toolern Creek, built of vesicular bluestone and mud mortar, is of unknown origin. It has commonly been assumed to pre-date 1840, and to have belonged to the original holder of the Exford lease, Dr Watton or Port Phillip Association member Dr Cotterill. This is unlikely, as the 1841 census records Dr Watton, and everyone else in the district, as living in a ‘wood’ dwelling. It may instead have been the residence of Garrard, and the Bryans, in the 1840s and an early map names a site near here as ‘Bryan’s outstation’. It is assumed that the two-level stone building that became the kitchen is the earliest intact building on the site, and was the first homestead; it is likely to date to the 1840s or 1850s. The main homestead is a substantial villa constructed of random coursed bluestone, with a verandah facing three sides, attic bedrooms with dormer windows, a fan light over the front door, a hipped roof originally clad in slate, and a large cellar. Although demonstrating characteristics of pioneering construction, such as unworked log beams, pit sawn beams, hand-sawn lintels and colonial door locks, documentary evidence shows that it was built c.1869. The homestead has now been structurally repaired and decoratively restored; a sympathetic new semi-detached rear extension was added in the early years of the 21st century. The former kitchen building has also undergone minor repairs and alterations". Strathtulloh Homestead at 1402-1600 Greigs Road, Melton Southlocal architecture

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. This photo shows Charles Henry “Mick” Morris in the Morris cellar at Mia Mia near Rutherglen, Victoria. Charles Henry “Mick” Morris was born in Rutherglen, Victoria on 1st July 1928, son of Charles Tempest George Morris and Daisy Chambers. The Morris winery was started by Mick’s great grandfather, George Francis Morris who arrived in Australia in 1852. He immediately set off for the goldfields but found more profit from selling supplies to the goldfields. He purchased land in Rutherglen in 1859. By 1894 he had the biggest cellars in Australia. Mick Morris is a 4th generation wine maker. He was educated at Gooramadda Primary School, then at Rutherglen Higher Elementary School before attending Scotch College in Melbourne. He became the first member of his family to gain a university education, gaining a Bachelor of Science Degree at the University of Melbourne in 1950 before completing an Oenology Course at Roseworthy Agricultural College in South Australia. Mick returned to Mia Mia in 1952 where his first role was working in the vineyard. By the end of 1953 he had become the “semi-official” winemaker at Mia Mia. From that time his career as a widely recognised winemaker went from strength to strength, winning many prestigious awards. Mick is recognised as a pioneer of the Durif grape variety. In 1993 Mick’s son, David became a 5th generation winemaker. Morris is famous for producing some of the world’s finest fortified wines. Away from the wine industry Mick has a strong interest in sport, particularly football. Since 1933, the Morris Medal for the Best and Fairest Player in the Ovens and Murray League has been awarded annually. This award was instigated by Charles Hughes Morris, Mick’s grandfather. Mick also played in the league. Morris Wines of Rutherglen were purchased by Casella Family Brands in 2016. This image depicts a renowned winemaker of Rutherglen who has made an outstanding contribution to the development of the Australian wine industry. He was also involved in his community and his family is recognised in the annual award of the Best and Fairest medal for the Ovens and Murray Football League.A black and white photograph of Charles Henry "Mick" Morris in the cellar at Mia Mia near Rutherglen, Victoria. The photo is in a metal frame.On barrel in foreground: "FILTERED/ 4 OCT '93/ MIA FINO / 4 Hhds"morris wines, northeast victorian wineries, mick morris, winemakers of rutherglen

The MDNS Sisters are packing their belongs ready to move from their current Nurses Home at 39 Victoria Parade, Collingwood to their new Nurses Home and Headquarters situated at 452 St Kilda Road, Melbourne, then known as 'Airlie'. From its founding in 1885 until 1891 the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). The Committee meetings were held at the Religious Tract Society rooms at Queen’s walk, off Swanston Street and then at the Library Room at the Melbourne Town Hall. The Annual General Meeting was held at the Town Hall. In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Nurses and one pupil nurse as well as being used as their Headquarters. They left from their Nurses Home each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurse, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. to Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy where they remained for ten years. In June 1914 at last the Society had sufficient funds to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door, running from 41-47 Victoria Parade (became No. 45). There were now two divisions with the After Care having their owned Trained nurses (Sisters) and the District Division of Trained nurses (Sisters) who continued to live at No. 39. In November 1953 the Sisters working in the District Nursing Division moved into their new Headquarters and Nurses Home at 452 St. Kilda Road, Melbourne. In 1957 this Division changed its name to the Melbourne District Nursing Service when it separated from the After-Care Hospital. It was given Royal patronage in 1966 and became Royal District Nursing Service (RDNS). As it expanded, and now with Centres opening throughout the suburbs, the Nurses Home at 452 closed and those rooms used for administrative purposes. It now had outlying districts to service, and with a full fleet of District cars, the Sisters lived in their own homes and visited their closest District Centre each morning to collect their work for the day and returned there at the end of their community duties to do their administrative work. On April the 1st 1996 RDNS Head Office relocated to 31 Alma Road, St. Kilda. Standing in a semi circle of this photograph are 5 Melbourne District Nursing Society (MDNS) Sisters in their long sleeve grey uniform dresses which have a belt, peaked collars and white buttons down the centre. They are wearing their grey brimmed hats with a central Maltese cross on the light colour headband over their short dark curled hair. From Left to Right are Sisters Marianne Metcalf who is smiling and is holding a tennis racket and soft sided oblong travel bag which has two leather straps and handle in her right hand; it is resting on a closed case, which has two leather straps across the lid; this sits in front of her. Next is Gerda Oppenheim who is looking serious and has her right hand on the top of the lid of an open case in front of her, then Beryl Rowley, who is smiling and has her hands on a narrow white metal horizontal pole which has a vertical pole attached. Next is Marcia Parrat who is smiling and is holding a piece of white linen on the open case, and next, on the far right, is Florence Hoey who is holding a piece of white linen on top of an open hard leather travelling bag which is sitting in front of her next to the closed case. melbourne district nursing society, mdns, mdns headquarters, sister marianne metcalf, sister gerda oppenheim, sister beryl rowley, sister marcia parrat, sister florence hoey, royal district nursing service, rdns

This silver trophy is named "Sir W. Clarke's Trophy" after its donor. Sir William John Clarke, Baronet, who was a citizen and philanthropist, well known in Melbourne and throughout Victoria. He gave donations to many public projects including Melbourne University and was a patron of many and varied sports. He encouraged the defence services with prizes for competitions among both military and naval forces. In colonial Australia in the 1880s there was an increase in the size of the colonial military forces, rising from 8,000 in 1883 to 22, 000 in 1885. In 1885 there was a return of unpaid volunteer soldiers, along with a fear of a Russian attack on Australia. As a result, the Sir W.J. Clarke's Trophy was given as a prize in 1885 to Victorian Militia Garrison Battery competition winners, for artillery firing target accuracy. On 12th December 1885, the conclusion of the first artillery competition for Sir W. Clarke's Trophy was held at the Williamstown battery. The first winner of the Sir W. Clarke's Trophy was the Geelong Garrison Battery, with the prize Sir W. Clark's Trophy presented to them in 1886. In 1887 Warrnambool Garrison Artillery, under the command of Major W.S. Helpman, was the proud winner of the Sir W. Clarke’s Trophy. The contest was held at Point Gellibrand with the trophy formally unveiled at the Warrnambool orderly-room on 3rd August 1887. In June 1892 the annual competition was held at the Gellibrand battery in Williamstown. The canvas targets were moored at sea and fired upon from three breech-loading guns mounted on disappearing carriages. Each team was allowed 4 shots fired from each of the 3 guns. An article in the Portland Guardian stated that "the Warrnambool team is certainly looked upon as the certain winners." The same article reported that In this particular year the Government withdrew its previous award of 10-pound cash to the men of the winning team, described in the Portland Guardian as a petty economy of the Government. As the Warrnambool Militia Garrison Artillery had won the Trophy, for the third time, they became Absolute Possessors of the prize. The Trophy is locally significant to the community of Warrnambool for its connection to the Warrnambool Volunteer Rifle Corps., which formed part of the original Warrnambool Garrison to protect the Warrnambool Harbour. The site of the 1888 Warrnambool Garrison and Fortifications is Victorian State Heritage-listed is significant for its intact and operational nature and is one of the best-preserved pieces of Victoria's early colonial heritage.This is the Sir W. Clarke's Trophy for the Victorian Militia Garrison Artillery, first presented in 1886. The silver trophy with lid rests on a square black timber base that displays award shields on each side edge. Inside the hollow trophy is a removable copper alloy bowl with a wide edge. The inner walls of the trophy are unpolished and there is a metal bracing plate between the sides and fitted metal bolts with nuts and washers. near the base. The large, elaborately decorated, silver bowl has a conical pedestal, two handles on the top edge of the bowl and a matching fitted lid. Much of the decoration is three-dimensional. Fine, detailed decoration includes a semi-kneeling figure with an upturned face on top of the lid, vine-like handles resting on necks of swans with outspread wings, figures seated on a ridge, two on each side, with ends of limbs hanging over the ridge, two holding lyres, patterns of leaves, flowers and draped ribbons. The timber base is painted black on the outside. The engraved silver shields around its sides have inscriptions of trophy winners and the name of the trophy. There is a handwritten, pencil inscription of the date 1887 under the timber base. The first award was made in 1886 and the last in 1892. The Warrnambool Garrison wond this trophy three times, including the last award given.Front centre large shield; “VICTORIAN MILITIA / GARRISON ARTILLERY / SIR W. CLARKE’S / TROPHY” Left side, right shield; “1886 / WON BY / GEELONG / GARRISON BATTERY / Major J PRICE / COMMANDING OFFICER” Front, right shield; ” 1887 / WON BY / WARRNAMBOOL / GARRISON ARTILLERY / Major W.S. Helpman / COMMANDING OFFICER” Left side shield: “1888 / WON BY / NORTH MELBOURNE / Garrison Battery / Major F.R.Y. Goldstein / Commanding Officer” Right side, left shield; “1889. / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” Right side, centre shield; “1890 / WON BY / HARBOUR TRUST / BATTERY / Major J.H. Haydon / Commanding Officer” Right side, right shield; “1891 / WON BY / WILLIAMSTOWN / BATTERY /l Major W.H. Hall / Commanding Officer” Back, left shield; “1892 / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” In pencil underneath timber base “1887”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sir w. clarke's trophy, warrnambool volunteer rifle corps, statistics of warrnambool volunteer rifle corps, warrnambool volunteer rifle company, warrnambool rifle volunteers, warrnambool garrison, 1886, 1887, 1888, 1889, 1890, 1891, 1892, trophy, garrison, competition, prize, winners

Marseille My Dream Baby doll, 8-22" tall, bisque head, lightly painted hair, painted or sleep eyes, doll mold 351 has an open mouth with two upper teeth, cloth body with bisque or composition hands or composition jointed body, came as either a white doll or black doll. Doll face shown is a socket bisque head with sleep eyes on a composition jointed body. Armand Marseille of Sonneberg and Koppelsdorf, Thüringia, Germany was one of the worlds largest and best known bisque doll head manufacturers. The founder was born in 1856 in St. Petersburg, Russia the son of an architect and immigrated to Germany with his family after 1860. In 1884 he bought the toy factory of Mathias Lambert in Sonneberg and in 1885 acquired the porcelain factory of Liebermann & Wegescher in Koppelsdorf . . and his empire in the doll world began. Made 1924 - 1930 and later Bisque heads made by AM represented a new born infant. They came in white, brown and black versions. Mold 351 with open mouth and two lower teeth. The bodies were either cloth or composition AM doll. China haed, sleep eyes, painted lashes, two bottom teeth. Doll’s head has been repaired (badly) Composition body in good condition Embroidered lawn dress with pink embroidery. Appears to be original clothes Doll purchased from Harrods in London in 1926

Its manufacture demonstrates from an industrial aspect a period of history following the occupation of Japan by the USA after the second world war and has a strong association with this event.Insulator - known as an egg type - ceramic - fired clay (porcelain) finished with a brown colour with two holes for span wire with the holes offset to each other. Marked in a very light almost clear finish on one side "Made in Occupied Japan" See item 8534 for another example - a larger size. https://www.gotheborg.com/glossary/occupiedjapan.shtml - accessed 15/4/20201 gives some background: "For the period from the end of World War II in 1945 through April 28, 1952, the United States and its Allies occupied Japan. The Occupation involved approximately 130,000 Americans (both military and civilian) and about 35,000 British Troops based in Japan. SCAP (Supreme Commander for the Allied Powers), led by General MacArthur, wrote a new constitution for Japan. As Japan needed to rebuild their economy after the war, part of the agreement to allow them to export goods out of their country was that they had to mark 50% of all items with "Occupied Japan" or "Made in Occupied Japan." This could be done with a paper label, cloth label (as on scarves, doilies, clothing), engraved, handwritten or stamped. Thus, you may come across things, such as a salt and pepper set, where only one of the pair is marked OJ and the other will just have "Japan" on it. The tags, labels, marks were placed on the items in Japan, before they were exported to other countries. "trams, tramways, overhead, trolley wire, insulation, electrical equipment

This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent

Cream coloured taffeta wedding dress. Square yoke at front with spiral bead pattern and tassels of bead across lower edge of yoke. V shaped neckline at back with yoke and tassels. Short sleeves of double layer of net embroidered with flowers. Front and back of bodice of embroidered net. Neckline lined with 10cm cotton lace. Bodice fully lined with cotton fabric. Two vertical side panels of 5cm silk lace from shoulder to waist with triangular shaped tabs (12cm) extending to side seams. 5cm silk lace with 12cm triangular tabs across the waist at back of bodice. Taffeta floor length skirt 5cm lace with 12 cm triangular tabs extends from waist on LHS down to 3cm above hemline and extends across the front in a U shape to side on RHS and then across the back of the skirt in a U shape to the LHS. Triangular insert of embroidered net (45cm at hem) on LHS, from hem to 42 cm above hem. Centre back opening from neckline(25cm) fastened with seven metal hooks and eyes. Satin fabric belt with horizontal pin rtucks fastened with two metal hooks and eyes. Fabric circular buckle (5cm diameter). Lower edge of skirt lined with cotton fabric (14 cm wide). Semi-circular cotton padding stitched under arms.costume, female, cream coloured wedding dress

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Wood, brass and white metal VBA President's trophy. While the names of the winners have been partially abraided, contemporary press reports confirm the details and the significance of the trophy. An article in The Australasian (30 Jan 1937 reports: V.B.A. OFFICIALS' TROPHIES The three competitions involved in this title have now been concluded. Commenced on December 12, they occupied two Saturdays, and then were played on Tuesday afternoons to the conclusion. The president's trophy - the oldest competition in bowls, dating back to 1873 is for a two-rInk team of A pennant players; while the vice-president's B trophy and the vice-president's C trophy are also confined to two-rink teams in their respective grades. In the semi-final ot the president's trophy Kew, 34, defeated Richmond Union, 23, and Oakleigh defeated City of Hawthorn by 45-35. In the final Kew defeated Oakleigh, the scores being Kew, 39 (Cummins, Hambleton, Wood, Vance, 14; Taylor, Troon, Fraser, Rigg, 25), and Oakleigh. 20 (Cameron, Sumsion, Gronow, Walker, 12; Emmett, Skjellerup, Pakes, Geggie, 8). Kew had to wait 35 years to win its second president's trophy. That club was runner-up in 1890. Oakleigh has been twice runner-up (in 1924 and 1937), but has never won it. [The item is part of the historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].VBA / VICTORIA BOWLING ASSOCIATION / PRESIDENT'S TROPHY / PRESENTED BY *** SIR WM BRUNTON / WON BY KEW BOWLING CLUB / TEAMS / JP CUMMINS, LH HAMBLETON, CG WOOD, P VANCE, / AD TAYLOR, RLR TROON, HE FRASER, FH RIGGkew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic), trophies - lawn bowls

Brown's Self-Interpreting Family Bible. London: Blackie and Son 1862. A thick dark brown volume with a tiny embossed diamond shaped self-pattern on both covers. All edges of pages are gilt, The title, Holy Bible is printed in gold lettering at the top of the spine and it has five raised bands across it. The black and white decorative title page has Brown's Self-Interpreting Family Bible with many Additional notes, References and Readings, also Index of subjects printed at the top. Underneath in a semi-circle shape is a black ad white illustration of Ruth and Naomi, with publisher details below. The following Title Page has full details and explanations of the contents. There is a Publisher's Preface and Attestations to this Edition. Following this is a Memoir of The Rev. John Brown, closing with his final words upon his death on 19th June 1787. He was buried at Haddington Churchyard 24th June A.D. 1787, aged 65 years. Following this is an Introduction to the Right Understanding of the Oracles of God. There are many black and white plates included throughout the Bible. Pp. 1157 (Bible) At the back are many additional inclusions such as: Alphabetical Index, A Collection of Similies contained in the Scriptures, Complete Index, and Concise Dictionary, The Psalms of David in Metre, Translations and Paraphrases and more. There are missing pages of the Hymns. In all a most complex Bible for the family. Included are four loose pages with details of some of the Sebire Family Tree as noted in the Inscriptions section below. non-fictionA late Victorian family Bible— the beloved King James text, augmented by the late Revd John Brown of Haddington’s Comprehensive Bible study aids which was well bound. First published in 1611, the King James Version of the Bible has exercised an incalculable impact on piety, language and literature throughout the English-speaking world. "Other translations may engage the mind, but the King James Version is the Bible of the heart" (Campbell, 275). It is probably the text most commonly found in decorative family Bibles such as this one, which has several black and white plates. The Rev. John Brown of Haddington was "a tirelessly faithful pastor"—"For eight months of the year he delivered a lecture, two sermons, and an exercise each Sunday"—and also a prolific author. He is best remembered for his Self-Interpreting Bible, first published 1778, which became "as familiar in Presbyterian households as John Bunyan's Pilgrim's Progress and Thomas Boston's Human Nature in its Fourfold State" (DNB). Without Apocrypha. There is a Separate New Testament title page dividing the bible. Opposite page 832 is The Family Register fully handwritten in black ink Old English script commencing with Peter Sebire born 14th June 1835 Sen Died 20th September 1902 (67 years). Many other entries are listed. bibles, religious books, religion, genealogical charts, genealogy, genealogical documents, family trees

Australian Rules Football history see MAV 00517 1909: Football Team. Only player named is Paddy Green. Since the player guernseys are almost the same and the photographer is the same we presume this is the same team as shown in MAV 00517 named as the Moorabbin Football Team Moorabbin Football Club, nicknamed the Kangaroos, was the name of two distinct Australian rules football clubs which played in the Victorian Football Association (VFA). The first club, founded in the early 20th century, joined the VFA in 1951 and played there until 1963 with great success; they played home matches at Moorabbin Oval and wore royal blue and white hooped jerseys. The second club played in the VFA from 1983 to 1987. Moorabbin played initially in the Federal Football League, making their debut in 1909 and competing until 1950. During this time the club won 12 premierships, including winning all six premierships staged over the nine years between 1940 and 1948 (the competition was in recess from 1942 until 1944). The club entered the VFA in 1951. Its Federal League home ground, the Dane Road Reserve, was not up to VFA standards; so, in 1951 the club played at Cheltenham, and in 1952 moved into the Moorabbin Oval, which the Moorabbin Council had developed during 1951. The Kangaroos made the 1954 and 1955 finals series without success but in 1957 they helped eliminate premiership favourite Williamstown after defeating them by two points in the Semi Final. Moorabbin, who were coached by Bill Faul, took on Port Melbourne in the Grand Final, whom they had not once beaten since joining the league. In another upset, Moorabbin won comfortably to claim their maiden VFA premiership. In the early 1960s, the Moorabbin Council was very keen to bring a Victorian Football League team to Moorabbin Oval. 1964, the Moorabbin City Council secured a deal with St Kilda, who moved to Moorabbin Oval starting in 1965. The club originally intended to seek readmission for the 1965 season, but in July the club committee decided to withdraw permanently from the Association,and disbanded. Photograph is Black and White. Three row of football boys. Some are wearing striped jumpers, either the stripes are going horizontal or parallel. There are twelve men wearing a suits, four in the third row, four in the second row and four in the first row. One of the boys wearing a suit in the front row, has a hat in his hand. The boys in the front row are kneeling, the second row are standing on the ground and the third row are standing on benches. Only player named is Paddy Green. Phillip Jones may also be in the photo Row 2 4th from left Front of Mount : 1909 Back of Mount : written Paddy Green , stamp HEWITT 92 Regent Street North Richmondfootball team, 1909, paddy green, moorabbin, moorabbin football club, 1903, 1908, 1909, philip jones, james jones, paddy green, early settlers, market gardeners, pioneers, herron john, australian rules foorball, victorian footbal league, victorian football association, moorabbin city council, moorabbin shire, city of moorabbin, st kilda football club,

A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

Glass manufacturing has evolved over thousands of years. Glass making has been traced back to 3500 BC in Mesopotamia. The earliest known glass objects were beads, perhaps made by accident while working with metal. In the late Bronze Age, several civilizations discovered how to make vessels and glass bottles by wrapping threads of melted glass around cores of sand or clay. Later, moulds were used to form dishes and table wares. Around the 1st century BC, glassblowing was discovered. This made glass containers less expensive than pottery. Mould-blown glass, the process of blowing a piece of molten glass into a wooden or metal mould, was invented during the 1st century AD. This technique was faster with more consistent results. It paved the way for mass production. It wasn’t until the late 1800s that the production process to become more efficient. In 1887, a company in England created a semi-automatic process that could produce up to 200 bottles an hour. This process has been refined to the point where modern machines can yield more than 600 containers per minute. Blown vs. Manufactured Glass Bottles Nowadays, glass bottles, jars, and cups are usually manufactured on a bigger scale than is found in individual glassblowing studios. If we still depended on hand-blown glass for all of our glass containers, we would see some major differences in the process of creating bottles and jars. First, there's the time. Hand blowing glass takes a significant amount of time, even for one simple container. In contrast, hundreds of jars per minute can be made using modern technology. This leads to the second advantage: price. Because of the automated and streamlined process, the price for manufactured containers is much lower than that of hand-blown glass. Third, manufactured bottles will be much more consistently uniform than bottles blown by hand. Automated glass manufacturing produces nearly identical batches of jars. Glass blowing is awesome for unique, beautiful pieces of art. But for lots of lower priced and uniformly shaped containers, automatic manufacturing is the preferred method to create glass bottles and jars. https://www.containerandpackaging.com/resources/glass-bottles-brief-history The invention and development of glass for domestic items including bottles, has been nothing short of revolutionary. The use of glass bottles, that could be easily washed, led to improved hygiene, and mass manufacturing of drinks of all types, including milk, cordial and alcoholic beverages.Green Glass Bottle Possibly a ginger beer bottle.Concave indentation at the base. Also on base are two raised lumps. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

This item was most probably used at the Ballarat School of Mines. Pajari Instruments Ltd. grew from a partnership established in 1945 when the first EX-AX surveying instrument that provided accurate azimuth and inclination was made available to the diamond drilling industry. The partnership between Charles Trotter and George Pajari Sr. was known as Trotter-Pajari Instruments and the EX-AX Instrument was dubbed the "TROPARI" by the diamond drilling industry. Charles Trotter, a mechanical engineer, was also a marketing genius who developed substantial demand in Australia, Africa and South America in the 1940's and early 1950's. In fact the sales to each of these continents exceeded those to North America during those early years. Pajari is located in Orillia, Ontario, Canada and offer services and products that assist customers with their individual requirements. After the death of Charles Trotter in 1956, George Pajari Sr. with the assistance of his wife Hilda continued the business under the title of Pajari Instruments. George Sr. set most of the tenets that comprise our present Mission Statement. If it wasn't user friendly or if it had to have experts to operate it, that instrument design was doomed. If the customer wasn't getting good value in his opinion, manufacturing and repair procedures were examined to see where efficiency could be improved to cut costs without sacrificing Quality. George Pajari Jr and his wife Darlene assumed the reins of Pajari Instruments Ltd. in 1981 when George Sr. decided on semi-retirement. George Jr. brought the "client geologist's" perspective to the company. The company moved from Toronto to a 30 hectare (80 acre) site near Orillia shortly afterward. This site provided the high magnetic latitude earth field environment without magnetic pollution that is necessary for accurate compass setting. The park like setting of this location is a positive psychological benefit for our staff. George Sr. passed away in 2002 being preceded by Hilda only by 3 months, George Jr. continues at the helm of the company. With dedication from long term employees/contractors and third generation family members, Pajari Instruments Ltd. continues operations/new product development in Orillia. (http://www.pajari.com/about.html) Brass levelling compass in green velvet lined hinged timber box. Known as a Tropari - a single-shot, micro-mechanical borehole surveying instrument operated by a timing device. Borehole direction is measured from the earth's magnetic field. The Tropari provides both direction and inclination which can be used to define the attitude of the borehole at the survey depth. Regular surveys at intervals as the borehole progresses will allow a plot of the borehole to be drawn from the data. The Tropari is easy to use and maximizes profits by minimizing capital and operational costs. The Basic Survey Train Consists of: PDSI / Tropari Container, 6m (20 ft) Nonmagnetic Rods, Impact Foot, and Connector at Top. (http://www.pajari.com/tropari.html) A sticker on the lid of the hinged box states: "A.E. Parsons 107 Leicester St., Carlton 3053 Telephone 347 5844"scientific instrument, compass

This Minton floor tile is from the wreck of the LOCH ARD. Other examples of this manufacture have been recovered from the wreck site and form part of the collection at Flagstaff Hill. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London when it ran into the cliffs of Mutton Bird Island near Port Campbell and was wrecked on the early morning of June 1, 1878. The LOCH ARD was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-metre-high ceramic masterpiece of vivid glazed colours. The almost total loss of life and property from the LOCH ARD registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from gold and wool was increasingly being spent on magnificent private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent were their new range of colourfully patterned but very durable floor tiles – ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased within the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) that were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast.The Minton encaustic floor tile is significant for its method of manufacture which makes it durable as well as decorative. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A square Minton floor tile with a black and beige pattern against a white base. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. On the back, or base, of the tile is inscribed the number “46” and the letters “Minton & Co Patent Stoke upon Trent”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

A tea strainer is a type of strainer that is placed over or in a teacup to catch tea leaves. When tea is brewed in the traditional manner in a teapot, the tea leaves are not contained in teabags, but rather are freely suspended in the water. As the leaves themselves may be distasteful, it is usual to filter them out with a tea strainer. Strainers usually fit into the top of the cup to catch the leaves as the tea is poured. Some deeper tea strainers can also be used to brew single cups of tea, much as teabags or brewing baskets are used - the strainer full of leaves is set in a cup to brew the tea, and then removed, along with the spent tea leaves, when the tea is ready to drink. By using a tea strainer in this way, the same leaves can be used to brew multiple cups. Tea strainer use declined in the 20th century with mass production of the tea bag, but is still preferred among connoisseurs who claim that keeping the leaves packed in a bag, rather than freely circulating, inhibits diffusion. Many assert that inferior ingredients, namely dust quality tea, are often used in tea bags. Tea strainers are usually either sterling silver, stainless steel, or china. Strainers often come in a set, with the strainer part and a small saucer for it to sit in between cups. Tea strainers in themselves have often been turned into artistic masterpieces of the silver- and goldsmith's craft, as well as rarer specimens of fine porcelain. Brewing baskets (or infusing baskets) resemble tea strainers, but are more typically put in the top of a teapot to contain the tea leaves during brewing. There is no definitive boundary between a brewing basket and a tea strainer, and the same tool might be used for both purposes. Tea strainers are also used by patients trying to pass a kidney stone. The patient urinates through the strainer, thereby ensuring that, if a stone is passed, it will be caught for evaluation and diagnosis. Source: www.wikipedia.net This item has historical significance in the evolution of Tea drinking.The Strainer being needed if a cup of tea was to be poured without tea leaves being present in the tea liquid.As Tea bags have been introduced into everyday life tea strainers are an item of the past. This particular tea strainer was an item for everyday useage.White enamel tea strainer, round in shape with flange edges, 7 small circle areas of perforations in the concave area of the utensil, a small perforated handle (same material) at one outer area of the item.domestic, kitchen, food, preparation, white, enamel, tea, strainer, beverage, perforated, utensil, round, flanges, leaves

Black and white print of a donated negatives. Print made 8/1998. Various photos taken by Ron Fluck or other members of the Fluck family of various tour buses during the late 1940's and early 1950's. 886.1 - Mylor Service bus Ford V8, SA234990, Strathalbyn 5-1-1951 - standing alongside is Ron Fluck's first wife Joan (advised by Ron 09/2007) 886.2 - Pykes Cadillac Panorama Hotel, Sublime point, Bulli Pass NSW and Ron Fluck, 29-6-1951. 886.3 - Bonds REO #6, West Vic. (see also 886.9) 886.4 - Marks Ballarat, 2 Ansairs, TL943 and TL 975, Ocean Road, Melba Gully Crowes Vic - 25-3-1951. 886.5 - Parlourcars White bus, No. 29, Melbourne Hills Warburton - 13-8-1950 886.6 - Cellulose Bus, semi trailer, Millicent - 24-10-1947 with Claude Perkins Pty Ltd. hardware store in background. 886.7 - Kilkenny - Morphett - Henley Beach bus service, breakdown, Grange Road, Findon, Chev. car, Ron Fluck and D.Kay, 22-1-1949. Photo by E.G.Fluck. 886.8 - As for 886.2, NSW TV 338. 886.9 - Bonds Reo #6, Side Load, SA 2337, Diamond T motor, S.E. of SA - 23-10-1947. All images replaced by high res scan of the negatives 17/1/2019/tramways, trams, mylor service, parlourcars, bonds, marks of ballarat

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

Sister Gawith is a Nurse Educator with Royal District Nursing Service (RDNS) and she is instructing a group of RDNS Sisters during an Advanced Post Basic Course being held in a room in the Education Department at RDNS. Most of the Sisters are wearing the RDNS winter uniform, which at that time was a V neck tunic style dress made of blue/grey herringbone winter material, over a blue/grey skivvie. Sr. Moore is wearing the summer uniform of a royal blue V neck tunic style dress worn over a short sleeve white blouse and a dark blue cardigan.Education was an integral part of Melbourne District Nursing Society (MDNS), from its inception in 1885, later, in 1966, called Royal District Nursing Service, (RDNS). From 1885, only Trained Nurses (Nurses), through the Hospital training system, were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961, Education programs commenced at MDNS with Trained nurses (Sisters) receiving In-service Education. Sr. Pat (Paddy) Rowley was a leader in In-service Education and established the RDNS Department of Community Nursing Education in 1962. Staff could also apply for scholarships to further their education outside of RDNS. Many of their senior Sisters graduated from the College of Nursing in Community Health, Education and Administration and several travelled overseas visiting nursing organizations viewing their public health and District nursing systems. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, Wound Care Specialist Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and the Homeless Persons Program. RDNS staff attended several hospitals to observe and learn special care needed to some clients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic patients at home, and to Mount Royal Hospital to observe the care of patients in the Rehabilitation ward. A Community Nursing Education Program was extended to student nurses from Hospitals and to other nursing organizations. These Education programs kept the RDNS Sisters abreast of new techniques, such as changes in technology for e.g. new testing methods in detecting glucose levels in Diabetic patients. Sr. Nan Deakin did a Post Basic Course in Psychiatric Nursing and included this area in her Education lectures. Sr. Daphne Geldard specialized in the area of Alzheimer’s disease and Dementia. These Sisters visited patients in District areas with the regular RDNS Sister when required. Every member of staff, both professional and non professional staff, received regular education in the Education Department. In 1980, a Home Health Aide pilot study, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by Sr. Rowley, was evaluated as successful, and Home Health Aides were employed and worked in RDNS Centres under the supervision of the RDNS Sisters. The black and white photograph depicts a group of eight Royal District Nursing Service (RDNS) Sisters (Sr) seated and looking at, and some writing in, white paged books on tables in front of them. Seated in a semi-circle are. L - R: a Sister who is wearing glasses and has her dark shoulder length hair drawn back, then Sisters: Yvonne Laird, who has collar length dark hair, Anne Greenwood, who wears glasses and has short dark curled hair, a Sr with her long hair drawn back, then Sue Moore with shoulder length dark hair and wearing a dark V neck tunic style frock over a white blouse, and a dark cardigan. The next Sister, with dark hair, is partly hidden and next to her is Ethel Fullerton. who wears glasses and has curly hair. She is sitting with a pen in her right hand poised over white book. Sr. Mary Gawith, who has short dark curled hair, is standing in front of and slightly to the right of her. She is looking down at Sr. Fullerton and is holding an open book with the end of the spine resting on her table and showing the open pages to Sr. Fullerton. Sr. Judy Peter, who has her blonde hair drawn back, is sitting side-on in the centre foreground of the photograph with her arms resting on the other side of Sr. Fullerton's table. Most Sisters are wearing the RDNS winter uniform, of a V neck grey tunic style dress over a light grey skivvie. Photographer Stamp. Quote No. MA 22royal district nursing service, rdns, rdns education, sister mary gawith, sister yvonne laird, sister ethel fullerton, sister anne greenwood, sister sue moore (nee revill)

Book - 16 pages including card covers on semi gloss paper titled "The Essendon Tramways" written by Jack Richardson, published by Traction Publications, Historical Series No. 3 in 1956. The story of the North Melbourne and Electric Tramway and Lighting Company. Foreword on page 2 gives the background to the book and the persons who assisted with it. Details the historical background, a map of the tramway in 1906, relationship with the Victorian Railways, construction, rolling stock, carbarn, (depot) power station, overhead, takeover by the MMTB, connection to the City, 1956 map, expansion under the MMTB, services at the time of publication, Rolling Stock Roster, notes on some of the personnel of the tramway, junction details and dates of the various extensions etc. Includes a number of photographs, a list of railway and tramway books published by Traction Publications on the rear cover a short biography on the author. 2nd copy - from the H. S. McComb collection - stored in the original box - Items 2027 to 2030 and 1309 copy 2 contained within box 72.3 in a brown folder marked "Historical Data regarding Essendon Tramways and their services to the City" PDF copy of 1309.1 - the 1956 version added 25-2-2021 PDF copy of 1309.2 - the 1963 version added 16-3-2017. 1309.2 - 2nd edition, 1963, Historical Series No. 153, with a photo of J. Richardson on rear cover. Has notes on the edition and publisher notes. Revised to pick up errors and other photographs. Added 16-3--2017.1309.2 - has "L. W. Rogers" in ink on the top right hand corner of page 3.trams, tramways, essendon, nmetl, tramcars, depots, moonee ponds, north melbourne

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

Dahlia & Arts Festival, Eaglehawk.16th - 26th March, 1995. Programme. Debutante Ball (1), 'The Festival' Exhibition at the Borough Galleries. Debutant Ball (2). Art Preview and Presentation of Awards. Craft Market. Displays of Cake Decorating. Sidewalk Busking Competition. Gala Fair. Eaglehawk Fire Brigade open day. Porcelain Art and Craft Show. Art Show. Display of Memorabilia-Cornish Assoc. Static Display-Irish Assoc. Children's Multi-Dimensional Art Exhibition. Children's Photographic Display. Flower Show. Photographic Print Competition. Eaglehawk Heritage Society-Display. Bridge to Park, foot race. Street Procession. O'Shea-Ryan Bendigo Irish Dancing School and O'Shea-Ryan Academy of Irish Dance - Melbourne Performance. 2nd Seasons Fashion Show. 13th Annual Dahlia & Arts Half Marathon. Ecumenical Church Service. Picnic Lunch. Free Concert-Guinness Show Band. Cycling Criterium. Mining Heritage Tour of Eaglehawk. Dahlia Diner. Variety Concert. ''High Jinx On The High Seas''. Childrens Fancy Dress Parade. Gala Charity Old Time Ball. Brass Instrument Solo/Party Competition. 'Gardening Through The Drought'-Guided Tour. California Hill Church Open Day Craft & Devonshire Teas. Traditional Cornish Concert. 'A Time to Remember'. Annual Croquet & Bowls Tournaments. Festival Guest of Honor Mr Wayne Gregson - Journalist. Editor - Bendigo Advertiser. Festival President, Mr Noel Thomas. Vice Presidents Alan Bull, Kevin Herdman. Executive Officer Jeanette Moss. Treasurer Lorna Thomas. Acknowledgements and sponsors on back page.event, entertainment, eaglehawk dahlia & arts festival, dahlia & arts festival, eaglehawk.16th - 26th march, 1995. programme. debutante ball (1), 'the festival' exhibition at the borough galleries. debutant ball (2). art preview presentation of awards. craft market. displays of cake decorating. sidewalk busking competition. gala fair. eaglehawk fire brigade open day. porcelain art and craft show. art show. display of memorabilia-cornish assoc. static display-irish assoc. children's multi-dimensional art exhibition. children's photographic display. flower show. photographic print competition. eaglehawk heritage society-display. bridge to park, foot race. street procession. o'shea-ryan bendigo irish dancing school and o'shea-ryan academy of irish dance - melbourne performance. 2nd seasons fashion show. 13th annual dahlia & arts half marathon. ecumenical church service. picnic lunch. free concert-guinness show band. cycling criterium. mining heritage tour of eaglehawk. dahlia diner. variety concert. ''high jinx on the high seas''. childrens fancy dress parade. gala charity old time ball. brass instrument solo/party competition. 'gardening through the drought'-guided tour. california hill church open day craft & devonshire teas. traditional cornish concert. 'a time to remember'. annual croquet & bowls tournaments. festival guest of honor mr wayne gregson - journalist. editor - bendigo advertiser. festival president, mr noel thomas. vice presidents alan bull, kevin herdman. executive officer jeanette moss. treasurer lorna thomas. acknowledgements and sponsors

Set of three newspaper clippings pasted onto a single sheet of paper with two Punch holes on the left hand side. First clipping from The Courier, Ballarat, 2/4/1971 with photo of tram 28 after is collision the previous day with a semi-trailer at the intersection of Princes and Victoria Streets. Gives names of the vehicle drivers and cost of the damage. Photo is of the tram returning to the depot under its own power. Tram passenger named as Margaret Foley, tram driven by James Mason and the truck driven by Gerald Winter of Gordon. See Reg Item 672.1 for a print of the Courier Photograph. Second is from The Courier, Ballarat, 15/4/1971 of the Brown Hill Progress Association chartering a tram to create interest in the project for the retention of Ballarat's trams. The tram was to leave Drummond and Sturt St. intersection the following Sunday at 1245. Item mentions the election of an interim executive and expression of interest of people outside the city. Third is from The Sun, Melbourne, 31/5/1971 about Ballarat 'tram-lovers' deciding to have a working tramway museum. Quotes Mr. Paul Nicholson, a member of the Ballarat Tramway Preservation Society. Notes that Museum will have eight trams using two miles of existing track around Lake Wendouree. Also notes that the SEC had received 88 applications for the 44 trams in both Ballarat and Bendigo.Image of the 3rd item added 28/3/2011 - see i1 and for the actual cutting i4. Original of newspaper of item 1 - also has items about the future of the railway workshops following a cost review and a story of page 1 of a submission to the Victorian Land Transport enquiry.In red ink on first cutting in top left hand corner "2/4/71" and in blue ink in top right hand corner on second cutting "15/4/71".trams, tramways, accidents, closure, charters, museum establishment

Yields information about Ballarat's and district government and local services and business's through advertising, timetables, providing addresses.Thirty two page + covers, Guide Book titled "McConnell's District Guide - Ballarat" for 1924. Covers - orange with title and advertising and calendar for 1924 and 1925 on inside of rear cover. Inside pages, missing pages 23 to 26 (see note below) printed on semi gloss paper with district information and Advertisements. Pages 7 to 11 loose - due to removal of other pages. Centre stapled. Page 1 has a table of contents, giving municipal and district information including banks, clubs, Councillors, Hospitals, JP's Industries, Medical, Newspapers, Parks, Places of interest, schools, train and bus timetables and trams (see note below). Item was contained within the back cover of Reg Item 5486 - Service Exercise Book, black covers, with label, red binding titled "No. 2 - Ballarat Tramways & S.E.C. Systems" - see list. Timetables cut out and pasted into a folio within Reg Item 5507 - see Reg Item 5513 for pages of the timetable pasted into the document. Has many advertisements for local and Melbourne companies. Major ones are: Wertheim pianos - Melbourne Tyer's Drapery Morshead Stores Jeffree Muir - Seeds Victor H Wastell - Optometry B. Farrer - chemist Val Purdue - Saddler McGibbony Bros - jeweller Sunshine Garage Osbrow & Co - boots J. Ewins - books W. A Stark - Grocer Tunbridges - furniture Walters Bros - Estate Agents The Ballarat Trustees Executors and Agency Co. A. E. White - tailor Excelsior Motor Bus Co. Creer the Cashman - blankets Faull's - shoes Andrew Cant - ironmonger W. F. Coltman - timber Stevens - furs Her Majesty's Theatre Hutton's - Jeweller On cover, "W. Jack 1924" and "1924" in ink.trams, tramways, ballarat, commerce, advertisements, timetables

Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries

This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work for significant organisations and institutions . Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013. The 1981 Rotary International Pacific Region Conference was held in the Royal Exhibition Building, Melbourne, between 26 and 29 November 1981. More than 5,000 Rotarians from around the Pacific attended the conference in Melbourne to discuss 'The Future of the Pacific Region'. Speakers included the Honourable Malcolm Fraser, Rotary International President Stan McCaffrey, President Elect Horoji Mukasa, Ranald McDonald, representing the media, Sir Ian McLennan, representing industry, Japanese former Ambassador Nobuhiko Ushiba and Philippines Deputy Consul General Mrs Minerva Falcon, both representing diplomatic services, as well as other Rotarians. A limited number of plaques were produced from quality imported porcelain.This item represents a major event held in Melbourne for Rotary International and is also the work of a prominent artist from the Wodonga district.2 ceramic plaques designed by Betty Barberis for the emblem of the 198T Rotary International Pacific Region Conference held in Melbourne in 1981. The plaque bears the Rotary emblem, slogan and other text as well as an image of a kangaroo and lyre bird.In top banner: "SERVICE - ABOVE - SELF" In central circle: "ROTARY INTERNATIONAL" around 1981 In lower banners: "PACIFIC REGIONAL CONFERENCE / MELBOURNE AUSTRALIA".betty barberis, rotary international, 1981 rotary international pacific region conference

On 19 April 1915, Brighton City Councillor T. Wilson moved to install a roll of honour in the Brighton Town Hall. "The men who had gone to the war deserved all the praise and consideration that could be given them. Nothing could be said too highly in their favour." The Roll of honour was unveiled at the Brighton Town Hall on Armistice Day, 11 November 1928, by the mayor, Cr. H.E. Pullman. It contained the names of the men of the municipality who gave their lives in World War I. A service was conducted by the Brighton Ministers' Association, under the presidency of the Rev. H. B. Hewitt, of St. Andrew's Church, Brighton. The roll of honour was made by H. Goldman Pty, Ltd, a Melbourne cabinet maker and designer who worked exclusively in Australian timbers. The two metal panels/tablets on either side of the honour roll were added at a later date and commemorate those who died in World War II.Polished wood and metal honour board attached to wall in the Brighton Town Hall. The board is a rectangular shape with a semi-circular curved top at the centre. The central section is a dark carved timber Honour Roll for WWI listing the names of Brighton residents who gave their lives in service 1914—1919. To the left and right of the honour roll are black metal panels/tablets that were added at a later date which commemorate those who died in WWII 1939—1945. The central section contains the honour roll of 228 names which are inscribed in gold with black shadow across three panels which are divided by four decorative round columns. The middle panel is arched at the top and under the arch is a decorative wreath in relief containing the City of Brighton crest within it, below which is "LEST WE FORGET" in gold lettering. The top of the left and right wooden panels each have carved decorative eucalyptus foliage and a bow hanging in the middle. A piece of metal with an incised quote "AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE WILL REMEMBER THEM" is attached to the bottom edge of the central section. Below the metal bar on the left and right panels are the dates 1914 and 1919 in gold lettering, and in the centre "TO COMMEMORATE HEROIC & SUPREME SACRIFICE". The cast metal side panels are set back slightly from the central section and contain decorative wreaths at the top and quotes under them. The left panel has the incised inscription "IN GRATEFUL MEMORY OF THOSE WHO GAVE THEIR LIVES IN THE SERVICE OF THEIR COUNTRY IN THE SECOND WORLD WAR 1939—1945" and the right panel reads "GREATER LOVE HATH NO MAN THAN THIS THAT A MAN LAY DOWN HIS LIFE FOR HIS FRIENDS 1939—1945". They have square columns on their far ends and the capital of the columns and top and base decorations mimic the original timber design. brighton, roll of honour, honour board, lest we forget, brighton town hall, commemoration, wwi, world war i, wwii, world war ii, brighton city council, bayside, military, service, war memorial, h. goldman, harry goldman, h. goldman manufacturing company

RDNS Liaison Officer, Sr. Barbara Watson is attending a meeting with members of Dr Kay's Coronary Care staff at the Alfred Hospital. Sr. Watson is wearing her RDNS winter uniform of a blue/grey skivvie under a V neck tunic style herringbone winter material dress.Liaison had occurred between doctors and the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), Trained nurses (Sisters), but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals.They facilitated the smooth transition from hospital to home for many patients who required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective patients, coordinated discharge and booked the first visit by the visiting RDNS Sister. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the hospital Doctor, via the Liaison Sister, at the time the patient attended outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters and Doctors when patients were referred by General Practitioners and did not attend a Hospital.On the left of the black and white photograph is Royal District Nursing Service (RDNS) Liaison Sister Barbara Watson who has shoulder length blonde hair which is curled at the ends; she has her hands clasped in her lap. She is wearing her uniform light grey skivvie under a V neck tunic style dress and is seated on a chair, the first in a semi circle alongside five lady hospital staff members and Doctor Kay. To the right of Sr. Watson sits a lady who has shoulder length curled hair and is wearing a white hospital coat over her clothes, with part of her dark skirt seen.. Next is a lady with long dark curled hair who is wearing a white uniform dress under a dark cardigan. To her right is a lady with long dark straight hair who is wearing a white uniform dress and a dark cardigan; she has a pen in her right hand which is poised on a piece of white paper resting of her right knee. To her right is a Sister, wearing light rimmed glasses, and wearing a white uniform dress and a white cap over her short dark straight hair. A hospital badge is attached at the top neck of her dress. She has her hands clasped on her lap and is looking to her right at the Doctor. Next is a lady with short straight dark hair who is wearing a white hospital coat over a grey dress. On the far right is Dr. Kay, who has short dark hair and is wearing a white hospital coat over a grey shirt, dark tie and dark trousers.He is looking to his right. In the left background is a long table and to the right some papers can be seen attached to boards on a wall.Barry Sutton's photographer's stamprdns, royal district nursing service, rdns uniform, rdns liaison, dr. kay,, sister barbara watson