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Warrnambool and District Historical Society Inc.Book, The History of Warrnambool by Richard Osburne, 1980
Richard Osburne (1825-1895) came to Warrnambool in 1847, a pioneer resident in the new settlement. In 1851, with John Wilkinson, he founded Warrnambool’s first newspaper, the Warrnambool Examiner, and issued it weekly for some months until he left the town for the goldfields. Returning in 1853 he resumed publication of the Examiner and continued it, intermittently in its last few years, until 1880. He was acknowledged in his day as the Father of the Warrnambool Press and was a dominant figure in Warrnambool’s early history. He was associated with the establishment of the Aboriginal Reserves, Fire Brigade, Mechanics’ Institute, Warrnambool Council, National School, Presbyterian Church, Public Wants Committee, Villiers Building Society, Fish Protection Society, Dramatic Club, Cricket Club, Otway Gold Exploration Syndicate and other institutions. In 1882 he went to live in Melbourne, returning to publish his ‘History of Warrnambool’ in 1887, a Queen’s Jubilee publication. Richard Osburne’s book is a seminal work of the 19th century history of Warrnambool and its importance cannot be over-emphasized. The original copies of this book are now hard to get and are very valuable. This facsimile is kept because the facsimiles are also now becoming rare and they are good examples of the way a facsimile is reproduced and the reason for the existence of this particular reprint– the importance and usefulness of Osburne’s history and the need to make it accessible to researchers today.This is a facsimile edition (1980) of Richard Osburne's book on the history of Warrnambool from 1847 to 1886. It is a hard cover buff-coloured book with gold lettering on the spine. The dust cover is cream-coloured paper with black writing. Inside the cover is a map of southwest Victoria (1880). There are five fold-up inserts (sketches, diagrams etc), a number of business advertisements, sepia photographs and sketches and an index. The dust cover includes information on the author. There are 25 chapters, a foreword by the Prime Minister of Australia, Malcolm Fraser and a Preface The proceeds of the book reprint went to Flagstaff Hill Maritime Village.This is a facsimile edition (1980) of Richard Osburne’s book on the history of Warrnambool from 1847 to 1886. It is a hard cover buff-coloured book with gold lettering on the spine. The dust cover is cream–coloured paper with black writing. Inside the cover is a map of southwest Victoria (1880). There are five fold-up inserts (sketches, diagrams etc), a number of business advertisements, sepia photographs and sketches and an index. The dust cover includes information on the author. There are 25 chapters, a foreword by the Prime Minister of Australia, Malcolm Fraser and a Preface The proceeds of the book reprint went to Flagstaff Hill Maritime Village.richard osburne, the history of warrnambool, warrnambool examiner -
Ringwood and District Historical SocietyBook, Hugh Mahon, Patriot, Pressman, Politician - Jeff Kildea (Vol 2 1901 to 1931), 2020
Hugh Mahon (1857-1931) was a resident of Ringwood at the time of his death and was buried in Box Hill cemetery.Full title: Hugh Mahon, Patriot, Pressman, Politician by Jeff Kildea - Volume 2: Politician: the years from 1901 to 1931."This book, the second part of a to-volume biography of Mahon, covers the period from his election to parliament in 1901 until his death in 1931. It describes his almost 20 years as a backbencher and a ministe during which he gained a reputation as one of the brainiest men in parliament as well as one of the most controversial. It provides an insight into his reluctant decision to oppose conscription in 1916 and examines in depth his commitment to Irish self-government and the circumstances of his dramatic expulsion from parliament in 1920. The volume also looks at Mahon's career as managing director of the Catholic Church Property Insurance Co. and his intervention in Irish politics dujring the debatge over the Anglo-Irish treaty. It is the story of a flawed genius who simultaneously evoked high praise and damning criticism." -
Ruyton Girls' SchoolLiterary work - Ruyton Prize Book, Geoffrey Cumberlege Oxford University Press, The Poetical Works of Robert Browning, 1940
This book contains a collection of poems written by English poet, Robert Browning, between 1833-1868. Robert Browning was an English poet and playwright whose dramatic monologues put him high among the Victorian poets. He was noted for irony, characterisation, dark humour, social commentary, historical settings and challenging vocabulary and syntax. Ruyton Girls' School has a long tradition of awarding prizes to students at annual "Speech Night" events. Speech Night at Ruyton is an extraordinary occasion. It is a time when we gather to celebrate both the year just lived and the contribution of our Year 12 girls to the life of our School. It is a night of stirring student speeches, acknowledgement of student endeavour and excellence and awe-inspiring performances by School choirs and ensembles. The Dawn Roach Memorial Prize is awarded for contribution to the sporting life of the school, and is awarded under a points system for participation. Dawn Roach was a former student at Ruyton Girls' School from 1937 until her sudden passing in 1938.The record has strong historic significance as it was awarded to a former notable student, Helen Gordon (maiden name Cole). Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Navy leather hardcover bound book with gold detailing on front cover and spine. 698 pages.Front Cover: R / RECTE ET FIDE LITER / RUYTON / Spine: THE / POETICAL / WORKS OF / R.BROWNING / OXFORD / Inside Cover: R / RECTE ET FIDE LITER / RUYTON / PRIZE / AWARDED TO / Helen Cole / FOR / Studies and James / Form VI / H. Daniell. / December 11 1951 / Dawne Roach Memorial Prize /ruyton girls' school, school, students, prize, speech night, poetry, lord tennyson, queen victoria, senior school, high school, ruyton, old ruytonians' association -
Federation University Historical CollectionBooklets, Melbourne Movie Club
Mirrabooka means Southern Cross. The Melbourne Movie Club was established for those interested in Moving Pictures and all its branches. 'A place to go to spend a few leisure hours, a select dance, parties, picnics, amusements, to learn the art of picture acting and make up, to take part in the Company's productions, dramatic art, to have a jolly good time, etc.' The Melbourne Movie Club has a spacious premises at 184 Exhibition Street, Melbourne, with a floor space of 10,000 square feet, where scenes and sets were erected for the use of Club Members. The Club had full moving picture producing equipment such as big light plant, stage effects, scenery, and cameras. The Melbourne Movie Club saw themselves ad the nursery and basis for a National Film Industry. .1) The secretary was Burnard W. Morey (AICA), the director was L. Morton, and the Managing director of Mirrabooka Films was James Weston. .2) The Managing Director was Louis Morton, the director was Ivan Morton, the Manager Robert Spencer and the organiser and Producer was W. Winford.Two booklets relating to the Melbourne Movie Club. .1) Eight page white booklet of the Melbourne Movie Club - The Mirrabooka Films Pty Ltd. The booklet discusses the place of film in Australia. .2) Eight page pink booklet of the Melbourne Movie Club.melbourne movie club, movie, theatre, james weston, mirrabooka, mirrabooka films, burnard morey -
Melbourne LegacyPhotograph - Photo, Legatee function, 1991
Photos of the launch of Legacy Week in 1991. The guest speaker was Sir Zelman Cowan, a former Governor General of Australia. The launch was in the Crest International Hotel in St Kilda on 3 September 1991. Sir Zelman spoke movingly on the work of Legacy and on the dramatic world events: the Gulf War; the reunification of Germany; the changes within the Soviet Union and his speech was warmly received by all who attended. The speaker and head table are under the Legacy Banner - which says "Legacy Caring for Australia's Biggest Family". The same banner is used at an event in Melbourne City Square - see 000491 (from the same roll of film). President John Sullivan is on the head table and is also in a photo at the Eternal Flame (000493 from the same roll of film). Part of a Legacy Appeal or Badge week launch in 1991. Seems to have fallen of a scrapbook of photos compiled by Legacy of major events in the 1980s and 1990s and deposited in the archive cabinets along with many other items and photos prior to the start of the cataloguing. See other photos at 01581.A record of a Legatee event to launch Legacy Week in 1991.Colour photo of the launch of Legacy Week 1991 at the Crest International.legacy appeal, legatee event, badge appeal -
Melbourne LegacyDocument, Dedication of the Forecourt to the Shrine of Remembrance by Her Majesty Queen Elizabeth the Second, 1954
Ticket and notice about the Dedication of the Forecourt by The Queen, possibly kept as souvenirs by a Legatee. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as the symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Ticket for admission and notice about Etiquette for the Dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance -
Bendigo Historical Society Inc.Document - MERLE HALL COLLECTION: VARIOUS INWARDS CORRESPONDENCE
Various Inwards Correspondence from; Crafers Organ and Choral Music Society re Simon Preston; Bendigo Woollen Mills re Craft exhibition; Craft Council of Victoria; Sandhurst Trustees re sponsorship of Craft Exhibition; Regional Arts Victoria re 2001 closure of Arts Bendigo; Bendigo Advertiser re 1988 Annual Supplement; Don Mackay - 2001 congratulatory letter to AB; Barry Ackerman (Mayor) with congratulations to AB 2001; John Little congratulations 2001 to AB; Roman Rudnytsky (pianist) re forthcoming visit 1997; Marketing Images & Technology re visit of Simon Preston 1988 (with supplementary material); William Feasley- guitar?- re confirmation of Bendigo performance (no stated year); Geelong Society of Operatic and Dramatic Art re information as to their use of Plaza Theatre, Geelong; Public Record Office Victoria re application for Local History Grants Program; sue Prain re possible appointment as coordinator/rehearsal leader of Bells and Brass Project; Victorian Arts Council (1981) re performance of ''You're a Good Man, Charlie Brown''; Australian Dance Theatre re details of trip to Bendigo October 1987; Sandhurst Trustees Bendigo Easter Fair Festival (1997) re inclusion of AB/BRAC event - ''Facing the Music''; Victorian Arts Council re letter of agreement for ''Wish You Were Here'' (1993). -
The Beechworth Burke MuseumPhotograph, 1910
Taken in 1910, this photograph depicts a scene of Bridge road in Newtown, Beechworth. Walking on the road are two men on horseback, one of which is pulling a carriage with a small dog standing beside it. Behind them are a line of small buildings and shops. Small industries began to expand dramatically in Beechworth, particularly during the 1860s, leading to a strengthening of the towns economy. As early as 1853, areas surrounding the waterway known as Spring Creek were surveyed with the intent of mapping out plans for new roads and building allotments. Land was sold and new buildings were erected, creating an expansion of the Beechworth township and retail services. One building shown in this photograph is Straughair and Duncan's Beechworth Foundry. This business was established in 1858 through the partnership of Mark Straughair and John Duncan. It dealt mostly in the manufacturing of castings and mining machinery, receiving orders from all over the Ovens district. The Business eventually collapsed after the deaths of Straughair in 1882 and Duncan in 1896 but was reopened by W.H. Phillips in 1905. The two other buildings are both associated with the name McKenzie. Evidence suggests that the McKenzie family has a long association with the town of Beechworth. This photograph is historically significant as it provides insight into the nineteenth and twentieth century industrial expansions that happened in the area of Newtown, leading to the urbanisation of Beechworth. Black and white rectangular photograph printed on matte photographic paper mounted on card.Reverse: Newton / 1997.2648 / 33 Newton Beechworth / 84-219-1 / McKenzies / BMM3055 / newtown beechworth, bridge road, 1910, j. duncan, r. mckenzie, m. straughair, industrial growth, ford street, beechworth foundry, straughair and duncan, mckenzie and sons grainstore, mckenzie family store -
Tatura Irrigation & Wartime Camps MuseumBook, Kay Dreyfus, Silences and Secrets: The Australian Experience of the Weintraubs Syncopators, 2013
(From back cover): "The Weintraubs Syncopators, international musical celebrities of the 1930s, embarked on a four-year journey across Europe, Russia and the Far East in exile from the antisemitic ideologies of the German Third Reich. This band of mainly Jewish musicians arrived in Sydney, Australia, in 1937. The decision of some of them to stay brought them into conflict with the aggressively protectionist Musicians’ Union of Australia. They gained employment at a high-end Sydney nightclub but when war came, were forced to come to terms with a change in their status – from celebrities to enemy aliens. Denounced for alleged espionage activities in Russia, three were interned and the band broke up. In this major recounting of the experience of the Weintraubs Syncopators, Kay Dreyfus pieces together the complex personal, social and political forces at work in this story of migration at a time of insecurity, fear and dramatic conflict." The Tatura group of camps were built after the beginning of World War 2, and held prisoners of war (enemy military) and civilian internees (enemy nationals, regardless of political affiliation, either living in Australia or in Allied territories overseas). The Weintraubs Syncopators' members were just some of the civilians caught up in the conflict. Paperback book. Glossy black front cover, black & white photo of group of musicians. Blue & white text. Back cover glossy white, black & white photo group of men standing over bass drum labelled "Weintraubs Syncopators". 305 pages. Dewey no. 781.65092weintraub, camp 1, tatura, internment camps, civilian internees, jazz, jewish community, world war ii, musicians, stefan weintraub, horst graff -
City of Greater GeelongArtwork, other - Oil on Canvas, Frederick Strange, William Weire - First Town Clerk of Geelong 1850 -84", 1845
Both William Weire and Frederick Strange were originally sentenced to be transported to Van Dieman’s Land from England making the painting likely to be a portrait of a convict by a convict. Gaining his ticket of leave for good behaviour in 1841, Strange became recognised for his portraiture and landscapes although he also remains known for his mysterious demeanour. He rarely signed his works which is the case with the portrait of William Weire. Having served his time, William Weire was granted unconditional freedom and successfully worked his way into influential local Launceston business and society circles ahead of leaving for Geelong in 1848 and being made the first Town Clerk for the newly formed Town of Geelong Council in 1850. He oversaw an incredible period of the earliest development of the Town of Geelong including the first migrant arrivals and the dramatic change that came with the discovery of gold in Victoria in the 1850s. The ex-convict turned Town Clerk was to read the formal welcome address to HRH Alfred the Duke of Edinburgh and Princess Alexandra on the occasion of Geelong’s first royal visit. The portrait of William Weire was originally gifted to the City of Geelong by the Weire family in 1961.convict, geelong, town clerk, frederick strange, william weire -
Plutarch ProjectPrinted handkerchief
This handkerchief was used as a marketing material to promote the film titled "The Heavens are ours" in Greek by "New World Film Entertainment" shown at Melbourne Town Hall. There were 2000 of these printed by the company for the premiera showing. The film was later screened by the same company at Premier Theatre in November 1958 by popular demand. The handkerchief gesture had the desired effect of attracting large crowds to the show.This handkerchief's primary significance is derived from the innovative story behind its use. A white printed paper towel inscribed, in black ink, with a message in Greek to those it was handed to by "Cosmopolitan Motion Pictures"The inscription in Greek says: "ΦΕΡΤΕ ΤΟ ΜΑΖΥ ΣΑΣ. Θα σας χρησιμεύσει να σφουγγίσετε τα δάκρυά σας παρακολουθώντας το συγκινητικώτερο, το δραματικώτερο δράμα όλων των εποχών που θα κάνει και τις άψυχες πέτρες να ραγίσουν 'ΟΙ ΟΥΡΑΝΟΙ ΕΙΝΑΙ ΔΙΚΟΙ ΜΑΣ'...." In English translation it says: "BRING IT WITH YOU. You will need to wipe your tears watching the most dramatic and emotional film ever, that will have stones with no soul crack... titled "THE HEAVENS ARE OURS" with the unforgettable Golfo Antigoni Valakou, of the most prominent film production company FINOS-FILM presented by NEW WORLD ENTERTAINMENT. The touching story of a girl who has been lost by her parents she still lives with them, in sadness and in laughter.... THE MOVIE THAT NEEDS TO BE WATCHED BY EVERY FATHER , EVERY MOTHER, EVERY YOUNG MAN AND WOMAN. In Melbourne On Saturday, 19th April 1958 MELBOURNE TOWN HALLhandkerchief, film, greek, language, entertainment, cinema, theatre, μαντηλάκι, γιαννούδης, yiannoudes -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cronwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cornwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage,, ellis,, penrose, cornwall, mining, mines -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cornwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cronwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cornwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines -
Ballarat Heritage ServicesPhotograph - Colour, Dorothy Wickham, St Just, Cornwall, World Heritage Site
A stone’s throw from Land’s End, this is the most westerly Area of the Site. St Just is characterised by big skies, jagged rocks, stark moorland, and iconic clifftop engine houses perched above the Atlantic in some incredible locations. No wonder this dramatic setting has inspired generations of artists, writers and photographers. World-famous for their mineralogy, the mining sites here are extremely well preserved – as is the sense of community amongst the people whose lives they once dominated. This Area’s unique geography and mineralogy meant that undersea mining was more concentrated here than anywhere else in the world in the 18th and 19th centuries. The oldest surviving Cornish beam engine (constructed in 1840) remains in its original engine house at Levant, restored and still working under steam. Geevor, one of the last mines to close in Cornwall (1990), was saved from demolition and is now the largest metalliferous mine site open to the public in the UK. The historic mining town of St Just is home to characteristic rows of granite mine workers’ cottages, public squares, shops, cafés, art galleries and, just off Bank Square, a medieval grassed amphitheatre – the Plen an Gwary or ‘playing place’.st just, world heritage, ellis, penrose, cornwall, mining, mines -
Melbourne LegacyProgramme - Document, programme, The Shrine Forecourt. Dedication by Her Majesty Queen Elizabeth the Second, 1954
The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. It was the official commemorative document of the occasion. The Queen lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01190).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190)Booklet x 12 pages with sepia photos and brown text in a cream card cover for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance -
Melbourne LegacyProgramme - Document, programme, Dedication of the 1939-1945 War Memorial by Her Most Gracious Majesty Queen Elizabeth the Second, 1954
The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. The Queen laid a wreath and lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Cream paper program with blue print, single page folded in half, order of service for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance -
Bendigo Historical Society Inc.Document - TOWN HALL, BENDIGO, JOHN BROWNLEE, March
a/ Town Hall, Bendigo, John Brownlee (Baritone), Associate Artist: Raymond Lambert (Pianist). Thursday, 5th June. Presented by The Australian Broadcasting Commission. John Brownlee Since he last visited Australian John Brownlee has been leading baritone of the Metropolitan Opera, New York. He had an enormous success with his singing and acting in the Metropolitan's recent new version of Fledermaus (Strauss), which had to be performed an unprecedented number of . . . Programme . . . Programme Notes . . . Photo of John Brownlee on cover, photo of Raymond Lambert on last page. Australian Broadcasting Commission: R J F Boyer, M.A., Chairman. E R Dawes, Vice-Chairman. Sir John Medley, KT, DCL, LLD, MA. P W Nette, P Vanthoff, MVO. TH Hon. C W Anderson, MLC. The Hon. Dame Enis Lyons, GBE. Charles Moses General Manager, Conrad Charlton Manager for Victoria, Dorrie O'Neil Concert Manager for Victoria. Advertisements: Victorian Symphony Orchestra, Conductor: Juan Jose Castro (Eminent South American Conductor). The ABC Presents Elena Nikolaidi, (Greek Dramatic Contralto). Town Hall, Bendigo, 15th July. Associate Artist: Jan Behr, Pianist. Burl Ives, America's Mightiest Ballad-Singer. 10th July. Georges of Collins Street. Furniture. Penfold Wine. Wynvale Wines. WEIGH and CONSIDER. Read not . . . To rake for granted . . . When the man in the street weighs and considers railway facts, he finds the Victorian system very much closer with the enormous tonnage of freight they hail for him and his fellows . . . The fruit he has for breakfast, his regular week-end joint, the flour in his daily bread, the timber, perhaps, for his house, the fuel for his factory, the products he has sold. Victoria’s railways moved, all told, more than seven million tons last year. Goods for home, factory, farm, warehouse. Goods that met basic needs and brought profit. Goods that were carried at the almost absurdly low average rate of 2.26d. A ton. Mile. Was all that Taken for granted? You should know: you are the man in the street. We know only what was done: we provided the RAILWAY PLANNED SERVICE b/ Insert: Please note the following alteration to item No. 2 ETUDE PATETICO, OP. 8, NO. 12 - Scriabin which has now been replaced by. . . c/ Capital Theatre 9, 10, 11 July Bendigo Book at Allan's. Victoria's Traveling Theatre proudly Presents The National Theatre Company - Direct from the Princess Theatre, Melbourne. Bernard Shaw's Greatest Play 'Saint Joan' (The Story of Joan of Arc) Produced by WM. P. Carr with June Brunell and Full National Theatre Cast. The biggest dramatic production to tour Victoria. (on rear) One Of The Greatest Plays Of Our Time, Critics from Melb. Herald, Melb. Advocate, Melb. Sun, Melb. Age, Melb. Argus, and Melb. Post. Renwick Pride.program, theatre, australian broadcasting commission, a/ town hall, bendigo, john brownlee (baritone), associate artist: raymond lambert (pianist). thursday, 5th june. presented by the australian broadcasting commission. john brownlee has been leading baritone of the metropolitan opera, new york photo of john brownlee on cover, photo of raymond lambert on last page. abc: r j f boyer, m.a., chairman. e r dawes, vice-chairman. sir john medley, kt, dcl, lld, ma. p w nette, p vanthoff, mvo. th hon. c w anderson, mlc. the hon. dame enis lyons, gbe. charles moses general manager, conrad charlton manager for victoria, dorrie o'neil concert manager for victoria. advertisements: victorian symphony orchestra, conductor: juan jose castro. elena nikolaidi, 15th july. associate artist: jan behr, pianist. burl ives, america's mightiest ballad-singer. 10th july. georges of collins street. furniture. penfold wine. wynvale wines. weigh and consider. read not . . . to rake for granted . . . when the man in the street weighs and considers railway facts, he finds the victorian system very much closer with the enormous tonnage of freight they hail for him and his fellows . . . the fruit he has for breakfast, his regular week-end joint, the flour in his daily bread, the timber, perhaps, for his house, the fuel for his factory, the products he has sold. victoria’s railways moved, all told, more than seven million tons last year. goods for home, factory, farm, warehouse. goods that met basic needs and brought profit. goods that were carried at the almost absurdly low average rate of 2.26d. a ton. mile. was all that taken for granted? you should know: you are the man in the street. we know only what was done: we provided the railway planned service b/ insert: please note the following alteration to item no. 2 etude patetico, op. 8, no. 12 - scriabin which has now been replaced by. . . c/ capital theatre 9, 10, 11 july bendigo book at allan's. victoria's traveling theatre proudly presents the national theatre company - direct from the princess theatre, melbourne. bernard shaw's greatest play 'saint joan' produced by wm. p. carr with june brunell and full national theatre cast. one of the greatest plays of our time, criticts from melb. herald, advocate, sun, age, argus, &. post. renwick pride. -
Falls Creek Historical SocietyEquipment - Red Leather Ski Boots
These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by DIana and Neville Mashford who owned the Hub and Snowlands at Falls Creek.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Red leather ski boots with four metal buckles and black lining.SEROC Made in Franceski equipment, ski boot design, vintage ski boots -
Falls Creek Historical SocietyEquipment - Tyrol Leather Ski Boots
These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by Mt. Beauty Rotary Club President Bob Flower.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Black leather ski boots with five metal clips on each boot and black lining. A carry case is included. Tyrol is a family owned specialty outdoor store selling quality gear. It was started in 1965 by Jerry and Barb Schliep in Rochester, Minnesota, USA. In 2003 the store was purchased by their daughter and son-in-law, Kristin & Robb Welch.TYROL is imprinted on the carry case.ski equipment, ski boot design, vintage ski boots -
Phillip Island Conservation Society Inc.Work on paper - photocopy of letter to editor newspaper cutting, "Threat to/ Penguins"
This letter to the editor of an unknown newspaper probably dates from the late 1960s or early 1970s. At that time the Victorian government’s Liberal Party Premier was Sir Henry Bolte. In a reference to the major industrial valley in Germany, he and his government had a vision to make Western Port and Hastings into “the Ruhr of Victoria”, if not Australia. While this letter does not refer to Western Port, but apparently to Wiliamstown, the situation was similar in both bays. Substantial land was zoned in Hastings by the Bolte Government for industrial purposes, where BP built a refinery for oil imported through the Port of Hastings. The large oil tankers entered Western Port Bay via the western channel, which required dredging to accommodate them. It became a common site to see globules or patches of oil washed up on beaches around Western Port, and oil-affected wildlife. It is impossible to know how many wildlife were affected directly by oil spills and other forms of pollution in the Bay during that era. Sufficient numbers of oiled Little Penguins were found to prompt numerous references to the problem in newspapers, including letters, articles and even major features. The refinery eventually closed, with tanker traffic dramatically reducing in Western Port from the late 20th century.Statement of significance: This letter to the editor is significant in making reference to pollution caused in Port Phillip and Western Port bays by tanker traffic and the presence of oil refineries on industrial land in the bays. It is also indicative of the emergence of many conservation-related community groups of volunteers in Australia during the 1960s and 1970s in response to growing concern around conservation issues. Letters to the editor were a common means for these groups to have their concerns aired in public.Photocopy of newspaper cutting, single column letter to the editor.little penguins, oil spill, western port, port of hastings, henry bolte, "ruhr of victoria", oiled penguins, oiled wildlife, bp refinery, oil tankers, , mrs d waight, williamstown and district animal relief society -
Flagstaff Hill Maritime Museum and VillageInstrument - Scale, 1900-1930
The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is a scoop or large bowl at one end for the material to be weighted and a flat platform at the other end that holds the weights. Around the cast iron base is an embossed strip weight and bowl missing.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Ruyton Girls' SchoolLetter - Letters, Hilda Daniell, 3 June 1952
The letters address three parents of daughters who attended Ruyton Girls' School at the time — Mrs Friedman, Mrs Horan and Mrs McDonald. The letters invite the three mothers to make a contribution to the School's war scholarship fund by making homemade sandwiches or cakes to help cater the annual School dance, or providing a small financial donation towards it. Although the letters are signed by Hilda Daniell, given that the handwriting differs across all three examples, it is possible the content of the letters were scribed by a student or assistant to the Principal. The war scholarship fund (also referred to as the Scholarship Fund) was managed by the treasurer of the Old Ruytonian's Association (ORA); Ruyton's alumnae community. The earliest mention of Ruyton's war scholarship fund is in the Ruytonian December 1918, which recalls how the Senior Dramatic Club performed Jane Austen's "Pride and Prejudice" in the Kew Recreation Hall and raised over £100 to "provide a Ruyton scholarship for the daughter of a soldier who has given his life for his country." In the Ruytonian December 1955, the criteria for the war scholarship fund was revised to prioritise students in the following order: the child of a deceased serviceman, an ex-serviceman, and an Old Ruytonian. Other editions of the Ruytonian from this period recount how students also participated in fundraising activities to support the scholarship. It is unclear when the war scholarship fund ceased.The letters are historically significant as they were written by Miss Hilda Daniell, the longest serving Principal of Ruyton Girls' School from 1913-1952. She had enrolled as a student at Ruyton in 1893, and then appeared in a list of teaching staff dated 1898. When Hilda became Principal in 1913, Ruyton was still located on A'Beckett Street in Kew, Victoria. Hilda had purchased "Tarring" (now Henty House) from the old Henty family estate in 1919 to accommodate the growing School. In 1920, Hilda, teachers and the students moved to Ruyton's new location at "Tarring", 12 Selbourne Rd, Kew. The building became home for Ruyton’s boarding students and included a flat for Hilda to live onsite. Hilda passed away in March 1970. The record's significance is also supported by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by the daughter of a former student.Three individual loose sheets of cream coloured paper, each printed with Ruyton Girls' School's name and emblem. All sheets are handwritten with black/charcoal ink and signed by H. (Hilda) Daniell.Reverse: RGS008/2024/0007.1 / Reverse: RGS008/2024/0007.2 / Reverse: RGS008/2024/0007.3 /ruyton girls' school, students, scholarship, school, ruyton, principal, victoria, high school, senior school, day school, letter, miss hilda daniell, hilda daniell, henty, tarring, old ruytonians association, kew recreation hall, kew -
Bendigo Historical Society Inc.
Programme - BENDIGO OPERATIC SOCIETY ''CHU CHIN CHOW'' 10TH NOVEMBER 1961
Programme Bendigo Operatic Society ''Chu Chin Chow'' Opening 10th November, 1961 for six Nights. The Bendigo Operatic Society Presents by Permission of Samuel French (Aust) Ltd. Chu Chin Chow A Norman Lee Production, Told by Oscar Asche, Set to Music by Frederic Norton. Dramatic Personnel: Robert Watson as Abu Hasan (A Shayk of the Robbers) - Max Beckwith as Kasim Baba ( A Wealthy Merchant) - Fred Trewarne as Ali Baba (Kasim's Poor Brother) - Leonard Carr as Nur Al-Huda (Ali Baba'Son) - John Stephens as Abdullah (Kasim's Steward) - Charles Phillips as Baba Mustafa (A Cobbler) - Ferd Lorenz as Mukbill (An Auctioneer) - Peter Houston as Musab (Member of Hasan's Robber Band) - Reg Boromeo as Khuzaymah (Member of Hasan's Robber Band) - Victor White as Otbar (A Stall Keeper) - Dawn Beckwith as Zahrat Al-Kulub (Bloom of the Desert) - Carol McKenzie as Alcolom (Kasim's Head Wife) - Valerie McCracken as Marjanah (A Singing Slave) - Olive Hamilton as Mahbubah (Ali's Wife) - Joan Heard as Zanim (A Slave Dealer) - Patricia Lyon as Bostan (Mahbubah's Servant). Musical Director: Max O'Loghlen. Asst Stagemanager and Ballet Mistress: Miss M.Welch. Society Pianist: Mrs.P.House. Synopsis of Story: The story concerns the love of Marjanah, a slacve, for Nur Al-Huda, the son of Ali Baba, the poor brother of Kasim Baba, a wealthy merchant. Abu Hasan is disuised as Chu Chin Chow and plans to plunder the wealth of Kasim Baba. Zahrat Al-Kulub, a beautiful desert woman, is forced to spy for Abu Hasan because her lover is a prisoner of the thieves. Eventually she causes the death af Abu Hasan and his followersprogram, theatre, bendigo operatic society -
Federation University Historical CollectionCorrespondence, Letters to and from Nina Steane - 1973, 1973
Nina Steane was the daughter of Sydney Carroll. He was the son of John Whiteman and Alice Cornwall, born in Melbourne in 1877. After a short marriage his parents separated and he chose to live with his father. Alice resumed her maiden name and became successful in the Mining Industry in Ballarat. She owned the Midas Mine on the Dowling Forest Estate, Victoria. She was known as Madame Midas. Returning to London her business thrived and her company the 'British Australasian Mining Investment Company' was floated in London in July 1889. It is said she became a millionaire at 30. Sydney Carroll was born George Frederick Carl Whiteman (1877-1958). Sydney was heavily involved with the theatre and was manager of a number of London theatres. He founded the Open Air Theatre in 1933. A new complex was been built on the site in 1975. He was part-author of several plays, published a book on dramatic criticism as well as being a drama critic. Nina Steane (Carroll) was born in 1932 and studied Art at the Cheltenham School of Art. She then went to Oxford University where she studied Literature. After Oxford she married John M Steane and they had three children. They lived in Southport, Kettering where she exhibited her art until the mid 1970s. In 1976 John became Oxfordshire's County Archaeologist and so moved to live in the area. Here Nina showed her art as well as in London and other parts of the country as well as abroad Nina died in 1990, aged 57. .1 Type written letter on white paper. Addressed "Dear Sir" and signed "Nina Steane" (copy) .2 Type written letter on white paper. Addressed "Mrs Steane" and signed by "E J Barker" Principal of Ballarat School of Mines and later Director of Ballarat College of Advanced Education. (copy) .3 Type written letter on white paper. Addressed "Dear Mr Barker" and signed "Nina Steane" (copy) .4a Copy of hand written information on The Midas Mine .4b continuation of information.1 Signature of Nina Steane. Dated July 6th 1973 .2 Signature "EJB". Dated 20th July 1973 .3 Signature of Nina Steane. Dated July 26th 1973midas mine, nina steane, sydney carroll, alice cornwall, john whiteman, melbourne, madame midas, british australasian mining investment company, millionaire, london, drama, open air theatre, cheltenham school of art, oxford university, literature, john m steane, oxfordshire county, archaeologist, exhibition -
The Beechworth Burke MuseumPhotograph, Walter William McLean Thwaites, c.1870
This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history -
National Wool MuseumPhotograph - 01 Bendigo, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool MuseumPhotograph - 02 Wilkin, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie
