Reverend Alistair Orton was ordained in 1962 as a Methodist minister, and served at Ulverstone, Latrobe, Rochester, Bendigo East, Secretary Loddon Campaspe Presbytery, Mentone, Burwood Heights. He retired in 1999. Of historical interest, his ancestor was the first Methodist minister to conduct worship in Victoria in colonial days.BW photo of Rev. Alistair Orton, upper body.The Rev Alistair Orton Sec Loddon Campaspe Presbytery (East Bendigo) Church and Nation 24 May 1978 page 8rev. alistair orton; methodist/uc minister; ulverstone, latrobe, rochester, bendigo east, mentone, burwood heights

The painter of the work is unidentified. While the frame was made in Brisbane, the artwork is likely to be European in origin. The framer, William Lewis Hamilton, trading as A.L. Hambleton is listed in a Commonwealth of Australia Gazette of 1917. (No.113) in an application for copyright. The donor's ancestors, who included a number of amateur artists, lived in Coorparoo, Queensland.Oil on canvas mounted in an elaborate gilt wooden frame. The painting depicts a donkey and chickens in a barn. Donated by Rosemary Vaughan-Smith. A label on the frame is partly readable. It indicates that the frame was supplied by A.L. Hambleton, Kents Building, cnr Adelaide and Albert Streets, Brisbane.See note on label abovevaughan-smith collection, farmyard scenes, oil paintings

Photocopy of a photograph - black and white. Photograph of the Sydenham Garden Hotel, White Hills, Bendigo, on the corner of Holdsworth Road and Johns Street.Information received from Fred Bowman, Traralgon, mothers ancestor's had something to do with the Sydenham Gardens Hotel. Also via the internet a Friedrich Kraemer ran the Sydenham Gardens Hotel at White Hills, died Bendigo in 1941 aged 63, reg.no.18746.Seven people standing on the road. Large shed behind the hotel.buildings, hotel, sydenham garden hotel, white hills., sydenham garden hotel, white hills, bendigo.

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Late Victorian black cotton bodice with narrow sleeves. The creator of the bodice has made extensive use of beading at the front and on the sleeves. The bodice is unusual in that it includes an overlay at the front of black sequined tulle over a cream silk insert. The bodice has a black velvet waistband. The edging of the bodice includes pin tucking. Two long 'swallow tails' of lace (sic) hang from the neck of the bodice at the front. The bodice was owned by one of the donor's maternal ancestors.australian fashion, women's clothing, bodices, lace, victorian fashion, micky ashton

This book is the product of research into the author's branch of the Bell family who emigrated from Scotland to Australia in 1839, with a particular focus on the direct forebears who pioneered Gulf Station in the early 1850s and continued to reside at and manage the property for another 100 years. In this revised edition, newly acquired insights into the personalities and activities of those ancestors at Gulf Station are included.bell family, farms, gulf station, pioneer family, yarra valley, yarra glen

There are a number of alternatives sources that can be used to identify information on the death of an ancestor. This document briefly explores a number of these different formats that can be used; Printed records via published texts Burial records / memorial inscriptions prepared by groups or individuals Mircofilm Databases CD-ROMS World wide web search engines of specific databases Other recordsTomstones, Cemeteries and the Internet Beyond Death Records others sources of death information

“A Cup Winner’s Stable” appeared in The Australasian (Melbourne) Saturday 14/12/1907 on page 36 on the property of Mr. Stock of Wonga Park. In fact, this Tim Whiffler did not win the Melbourne Cup of 1867 and was stabled at Bully Brown’s Wonga Park Cattle Station from the early 1870s to about 1879. Although, itself not a Melbourne Cup winner it was a stud horse and was the ancestor of more than one Melbourne Cup winner.On the first page it is inscribed with the name "Robyn Smiley" and the school "Wonga Park"

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

Green soft covered book covering the history of the de Fegely family from Fribourg, Switzerland, to Ararat, Victoria. de fegely, fribourg, ararat, university of ballarat council, swiss guards, strachan, de casetlla, quamby, ballarat technology park, honorary doctorate, gum san chinese heritage centre, admiral richard strachan, melbourne international exhibition, carre riddell, herbert werner frederick de nully, vignerons, malta, family history, genealogy

Fortuna is a historically significant mansion in Bendigo, once home to the Lansell family from 1871 to 1935. George Lansell, Wendy's ancestor, was a prominent goldmine owner known as "the quartz king of Bendigo. Wendy Caldwell, aged 50 and a business owner in Melbourne, was inspired by her visit to Fortuna to organize a major family reunion. She planned and brought together 250 relatives for the event. The reunion began with tours of Fortuna, celebrating the family's historical legacy and connection to the site.Fortuna Restoration Article - "Family Fortuna Sparks Reunion" - The Herald Sun Sunday Nov 02 1997- Author Adrian Tame This item contains the following: 11217.7a Black and White Photo of George Lansell's sister's grandson, Stan Budds, 95, with some of his relatives, Picture by Phil Weymouth 11217.7b Part of page 15 - Family Fortuna Sparks Reunionnon-fictionbendigo, fortuna, stan budds, wendy caldwell

Family history narrative - ancestors of author, David Moorhead, with covering letter dated 8 February 1995 (to Kingerlee, BHS). Approx 165 pages in total - numbered in sections according to the family under discussion.. Accompanying letter states that ''this material is not so much historical, but rather genealogical . . .''. Contents: Thoughts on Family History; Family surnames from our family tree; Barker family; Barrow family; Barry family; Merritt family; Moorhead family; Vahland family (includes listing of Vahland buildings);Bibliography. Largest section relates to the Moorhead family (85 pages).person, individual, david moorhead, familys barker, barrow, barry, marritt, moorhead, stevenson, mr david johnstone, mary johnstone, m.h. piekaar & sons, osborne king and megram, thomas or ltd, vahland, carl wilhelim (charles william) vahland, jacob cohn, talfer

Uncle Brian McKinnon (b. 1957 – d. 2023) was a Geelong-based artist and descendent of the Amangu and Wongai people of Western Australia. He created powerful mixed media works that explore his campaign for Aboriginal rights and his childhood experiences growing up in Western Australia. Scars is a deeply personal and political work that reflects on some of the ways in which Aboriginal people have historically been discriminated against and marginalised because of the colour of their skin and cultural practices. Originally exhibited with two other paintings, it was also made in honour of the artist’s children and their struggle to maintain positive self-esteem. Uncle Brian McKinnon said his children inherited keloids from their ancestors: ‘These keloids look like body scars. In this work, I have placed them in the past and the presence of their ancestors through the act of beautifying the marks, which reflect the landscape and the identity of the person wearing the beautification marks. Although the marks on my children are not so beautiful and they are ostracised because of them, this made me think of racist policies and of course the referendum and when my people were seen for the first time as being human.’

Bowl previously owned by donor's mother and father Mr and Mrs Cassidy of Koondrook. Mr and Mrs Cassidy (aged 25 and 22 respectively) were honeymooning in Bendigo on 18th March 1920 and obtained the bowl from the Bendigo Glassworks. This was passed on to their daughter Edna Peacock. Associated with the bowl is an article written by Jim Evans for the Bendigo Advertiser December 13th 2012 in his 'History Lives' column. The article illustrates the connection between Jannaya McKenzie (work experience student) and the bowl that was obtained by her ancestors. Green glass Ball made by Bendigo Glassworks 1920. Approx. 20cm diameter with narrow neck (broken) Interior is hollow and painted with what is purported to be gold dust. koondrook. edna peacock., cassidy, artwork

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. Possum skin cloak consisting of twenty four pelts, stitched together with thread. Cloak features Wadawurrung designs in red, orange, white and black ochre.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

My name is Tammy Gilson and I am a descendant of Wadawurrung people on Mums side, Marlene Gilson and my dear Nan, Rita Fagan from the Dalton line of our apical ancestor, John Robinson. For that I pay my respects and acknowledge my ancestors and all Elders. In Wadawurrung wurru, meaning language, the wurru name of a cloak walert walert signifies the reclaiming of language that hasn’t been spoken fluently since colonisation. Wadawurrung kinkinbil people relied on possum fur to create cloaks to wear for warmth, ceremony, adornments and medicine. Possum fur was used widely amongst neighbouring First Peoples particularly from colder parts of Victoria given the harshness of climate and particularly in Gordon where the elevation is 650m above sea level. The walert walert denotes a continuum of cultural practice and identity, can be viewed as secret and sacred and today viewed as contemporised practice of history acknowledging transfer of knowledge, practice and kinship. My experience of possum skin cloak revival was in 2014 through Traditional Ceremony, Tanderrum, where I was chosen to make several cloaks to be worn by the Elders including my Mum. This is where I learnt technique and design elements that remain present and relevant to lived experience. My work is an example of how culture and connection gives purpose and embeds a beautiful sense of belonging. Each design panel holds a visual voice, a narrative that speaks to identity and kinship. Symbols and line work are found on old artefacts that indicate belonging to Wadawurrung people. The water marks and mountain patterns were passed on to me from Mum and her grandma. Continuing this practice is for future generations as the walert walert holds significant healing properties. Making them and sharing knowledge aims to strengthen our Culture and bring family together. There is nothing like a good yarn while sewing or weaving and this is what the Elders do, and my ancestors always did together, sitting around sharing their way and teaching. 9144.1 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the walert walert (possum skins cloak) she made for the National Wool Museum Collection, and the cultural practice of making cloaks. Film is 7 minutes and 3 seconds in length. 9144.2 - Digital colour film featuring Wadawurrung woman Tammy Gilson speaking about the designs which feature on the walert walert she made for the National Wool Museum Collection. Film is 14 minutes in length.possum skin cloak, wadawurrung, first peoples, culture, tammy gilson, identity, tradition, design, walert walert

Book bound with blue material. Title and author stamped in gilt on spine. AHNL badge stamped in gilt on front cover Dust jacket has title and author on both front and spine, photos of nurses on front and back. Contains photos.non-fictionHistory of the Alfred nurses from the establishment of the Alfred hospital in 1871, the beginning of nurse training in 1880 revealing the hardships, pleasures and intrigues shared by Alfred nursesalfred hospital, nursing history, ahnl

Patsy Coverdale wrote on about the artwork which is found with the bedspread "This trousseau bedspread commemorates a century of our daily living, of four generations, a bedcover where many loves and lives have begun and ended. Once immaculate, its years of service, of blood, sweat and tears, have seen so many building washes that today's embroideries would shrink from. I rescued it, patched its tears and wears with needlework from ancestors and aunties to celebrate the International year of Women in 1975. It symbols include the IYW to the left, women's work and its rhythms and cycles, a pearl button for our pleasure centre. The male phallic symbol illustrates the organ's early development and its natural power with the energy of relativity behind it all."A quilt made for the centenary of the Hospital made for the International year of women 1975. Re-purposed from a quilt used at the hospital. Given to QVWC in 1997 for the grand opening. textile art, centenaries, hospitals

Roy J Mitchell was born in Williamstown in 1935 and grew up in Ballarat. He was the son of Horace Mitchell, a railway man, and Catherine Donovan whose father James Donovan was himself a railway man. Roy worked for the Victorian Railways also, until this era finished and worked into the MET era. Roy never lived in Bendigo but visited often, many times taking his daughter Rebekah with him, drawn in by the historical trams. His passions in life were his family, dogs, trains and trams and photography. His cousin Frank O'Meara, said "Roy always had his camera with him. He Took it everywhere". Roy's ancestors came from Maldon, Mt Edgerton, Trentham, Ballarat, Creswick, Berringa and Geelong.Coloured slides of Bendigo Trams and Trains taken by Roy J Mitchell. This item contains the following 11 slides: 8670a Engine R766 races out of Melbourne towards Bendigo 8670b R766 as a tourist attraction in the Victorian Railway's Institute Gardens near the Bendigo Station 8670c Trams from Quarry Hill and Eaglehawk meeting at Charing Cross Bendigo 8670d R766 heads out of Melbourne towards Bendigo 8670e Eaglehawk Road Bendigo 8670f The Tram Terminus North Bendigo 8670g Bendigo Coach at the Beechworth Museum 8670h The North Bendigo and Golden Square trams meeting at the Charing Cross Bendigo, tram to Quarry Hill in the background 8670i Tourist attraction R766 in the Victorian Railway's Institute Gradens near the Bendigo Station 8670j The North Bendigo and Golden Square trams meeting at the Charing Cross Bendigo 8670k The tram changing direction at the terminus opposite the Eaglehawk Town Hall, post office on the left and mechanics Intitute right.history, bendigo, bendigo trams, roy j mitchell, bendigo r766 steam engine

Reserve Forces Day Council Boer War Commemorative Medallion 2012 Descendant Medallion with ribbon suitable medallion has been struck to allow descendants and supporters to honour those who served in this all-but forgotten conflict 100 years ago. The Reserve Forces Day Council recognises it was a War fought in the main by Reservists. Permanent forces were small in number with only a Permanent Force Artillery unit and a number of staff officers and soldiers serving in the war. The Reserve Forces Day Council’s objective is to "Raise the profile of the Reserve Forces and to thank serving and former members for their service, and their families and employers for their essential support." This medallion has been struck for descendants and in memory of those Soldiers who fought in the War. The "In Memory" medallion is oval 50mm high by 40 mm wide and bears the inscription "BOER WAR 1899-1902" bordering the face within a colour infill and a clear cover of epoxy. The central image is of an Australian soldier in a uniform of the era. The attractive medallion is 'gold', appearing as surrounds for the inscription. The neck ribbon is in the colours of the Queen’s official service medal, all enclosed in a presentation pouch. A space on the reverse side of the Medallion provides for a personal message to be engraved at a later time. An example is "Presented to Leslie Perrett Descendant of Tpr Frederick Avard, NSW Lancers who died in combat 10 October 1900". The Medallion may be worn at memorial ceremonies and will become a family keepsake. It does not matter on which side your ancestor fought, or if the soldier fought in a unit from elsewhere in the then Empire. The Medallion marks an Australian connection, and shows your support for your ancestor's achievement.Associated with the 110th anniversary of the Boer War 1899 to 1902. A descendant's medal issued as a commemorative by the Reserve Forces Day Council in 2012. A round enamel and epoxy medallion issued by the Reseve Forces Day Council for descendants to remember the 110th anniversary of the Boer War and their descendants contribution. The Medallion is round measuring 40mm x 40mm and has the Boer War Campaign Red, Blue and Orange coloured ribbon attached, The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). boer war descendant's medallion 2012, boer war commemorative medallion, reserve forces day national council boer war commemorative, boer war associated 1899 to 1902

EDHS Newsletter No. 274 February 2024 Our EDHS member Irene Kearsey is forever searching, researching and at times discovering hidden historical gems. One such discovery is finding details about the life and career of “Senior Constable Dungey – Eltham’s third policeman” and what he and his wife had in the Eltham police house; now our Local History Centre at 728 Main Road, Eltham. At our meeting on Wednesday 14th February 2024, Irene with talk about the career of Arthur Eggleston Dungey leading him to Eltham and then describe what was in the house. We now know how he and wife Louisa furnished the house in 1890, down to the number of teaspoons. If you had ancestors in 19th century Victoria, Irene has a suggestion for your research that might reveal such details1:02:35 duration Digital MP3 file; 21.4MBaudio recording, eltham district historical society, meeting, society meeting, eltham, guest speaker, eltham police station, irene kearsey, snr constable arthur eggleston dungey, eltham police residence

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

The author delves into the history of her Spanish ancestors, the San Miguels, and uncovers the forbidden love affair that tore the family apart. Fay Johnston told her daughter of a collection of letters she had kept hidden away for over 60 years, promising to show them to her when the time was right. It was only after her mother died that Dolores found the letters, concealed beneath a large piece of wood deep within a storage cupboard. Through endless research and close analysis, Dolores pieced together nearly a hundred letters, newspaper ads, doctors' notes, and postcards to unravel the story of her parents' romance. Dolores San Miguel is also the author of The Ballroom: The Melbourne Punk and Post-punk Scene. Her family history is placed in the wider context of early European immigration to Australia, as well as offering a fascinating glimpse into Melbourne life in the lead-up to World War 2.278p; Fay Johnston told her daughter (Dolores San Miguel) of a collection of letters she had kept hidden away for over sixty years, promising to show her but it was only after she died that the letters were found along with postcards, and doctors' notes. They revealed the story of her parents romance, kept secret for over two decades.(ms) dolores san miguel, (ms) fay johnston, courtship, families, immigrants, social life and customs, (mr) antonio san miguel