This print was an 1885 Christmas gift from the publishers of the Australian Town and Country Journal to their subscribers. At that time Queen Victoria was 65 years old although she may not have been that age when the portrait was painted. The print shows Queen Victoria’s signature in the bottom right corner. It cost sixpence per copy and operated from 1870-1919. The Australian Town and Country Journal was printed weekly, on Saturdays, in Sydney. The edition on December 26, 1885, contained 51 pages. The Journal claimed “Circulation Ten Thousand Copies, Greater than any other Weekly in Australia.” The frame of the print has a solid back of thick timber panels and is crudely made. The edges of the frame appear to have an underlying plaster base that has been covered with a layer of wood. The corners are reinforced with metal protectors. The subject of the print is Queen Victoria, Queen of the United Kingdom of Britain and Ireland. She was born as Princess Alexandrina Victoria of Kent on May 24, 1819. She became Queen on June 24, 1837 when King William IV died. She married Prince Albert of Saxe-Coburg and Gotha on February 10, 1840. Queen Victoria lived and reigned until her death on January 22, 1901, at age 82 years, after reigning for sixty-three years and seven months. This portrait is significant historically for its origin as an inclusion the Australian Town and Country Journal, a late 19th century Australian weekly newspaper, in circulation for almost fifty years. The portrait gifted to the newspaper’s subscribers is historically significant as an example of the connection between the people in the British Colony of Australia, with the value and respect held for the Queen of the Colony. The frame of the portrait, of solid and protective construction, shows the value that the owners placed on this portrait.Print behind glass in a brown wooden frame; coloured print of a portrait of Queen Victoria, made in watercolours. The Queen is wearing a blue sash, crown, and white ribbon pinned to the sash along with a cameo brooch and Royal Emblem. The portrait has an oval floral border of roses in pastel colours. Text is printed outside the border, as a title above and a signature below, in the lower right corner. The back of the frame is made of heavy timber panels with holes for attaching wire. The timber frame is over a white layer of soft substance, perhaps plaster. "Presented to the Subscribers of the Australian Town and Country Journal, December 25th 1885" “Victoria R”flagstaff hill, warrnambool, flagstaff hill maritime village, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, queen victoria, princess alexandrina victoria of kent, portrait of queen victoria, australian town and country journal, presented to subscribers, 1885

This book belonged to Robert Giles. He obtained it in 1914 and the bookseller was Mrs Tilly Rowan who was a well-known businesswoman in Warrnambool with a book shop and newsagency in the Oddfellows Hall in Koroit Street. Robert Giles (1895-1967) was born in Wangoom and went to the Wangoom State School and the Warrnambool Agricultural High School. He served in World War One and worked at the State Savings Bank in Warrnambool from 1911 to 1921 (excluding war service). He later worked in banks in Koroit, other Victorian country districts and Melbourne and retired to Mailors Flat. He was married to Vera King and they had one child, Joyce Aurelin. A Warrnambool branch of the Savings Bank was opened in Warrnambool in 1859 and it moved into a new building in Timor Street in 1885. (This building in now part of the Archie Graham Senior Citizens’ Centre). The State Savings Bank became the State Bank of Victoria in 1980 and in 1990 was subsumed into the Commonwealth Bank of Australia. This book is retained because it belonged to Robert Giles who lived in the Warrnambool area for part of his life and who worked at the State Savings Bank in Warrnambool early in the 20th century. This is a hard cover book of 408 pages. The cover is red with a gold-coloured image of a horse and a mounted policeman on the front cover and gold printing on the spine. The book has 25 chapters of text. Two labels of the book’s seller are affixed to the front cover and a title page. The cover is much scuffed.‘July 9th 1914 Robert P. Giles State Savings Bank Warrnambool’giles family, warrnambool, state savings bank warrnambool, history of warrnambool

A souvenir of Egypt brought back by an unknown person at the end of World War 1. It contains a central image of the Sphinx, the Great Pyramids and man seated on camel. There are flags and images of military leaders. The date is unknown but assumed to be from the first World War period. Flags around the central image are from countries allied in World War One, clockwise from bottom left: flag of Belgium ; the Sultanate of Egypt (red flag used 1914-1918) ; French flag ; a form of the UK flag with King George V ; Russian flag and image of Tsar Nicholas II in top right ; Italian flag ; and the Serbian flag in bottom right. The connection with Legacy is not known. The founders of Legacy were all returned servicemen who returned from overseas service in World War One so would be familiar with similar sentimental souvenirs that were purchased in Egypt and sent home to loved ones.A record of a type of souvenir from Egypt at the end of World War 1. Founding Legatees would have been familiar with Egyptian souvenirs from World War 1.Square printed cloth (possibly silk) with lace outer edge, possibly added later. Printed section contains central image of Egyptian Sphinx, pyramids and man seated on camel (facing left). Surrounding main picture is a series of portraits of leaders of countries with national flag.Souvenir of Egyptsouvenir, world war one, egypt

when the Buddha died (mahä Parinibbhäna) BC 543, his body was cremated in a sandalwood pyre at Kusinagara in India and his left canine tooth was retrieved from the funeral pyre by Arahat Khema. Khema then gave it to King Brahmadatte for veneration.[1] It became a royal possession in Brahmadatte's country and was kept in the city of Dantapuri (present day Puri in Odisha). (Wikipedia) Esala Perahera (the procession of Esala) is the grand festival with elegant costumes held in July and August in Kandy, Sri Lanka. This historical procession (perahera) is held annually to pay homage to the Sacred Tooth Relic of Lord Buddha, which is housed at the Sri Dalada Maligawa in Kandy. A unique symbol of Sri Lanka, the procession consists of many traditional local dances such as fire-dances, whip-dances, Kandyan dances and various other cultural dances, in addition to the elephants who are usually adorned with lavish garments. The festival ends with the traditional diya-kepeema ritual, a water cutting ceremony which is held at the Mahaweli River at Getambe, Kandy. (Wikipedia)Black and white photographic postcard on elephant on the stairs outside the Kandy Temple, Ceylon.chatham-holmes family collection, tooth relic, elephant, kandy temple, ceylon

John Joseph LOWERY Regt No 1926 enlisted in the AIF 3rd Reinforcements, 22nd Batt on 16.6.1915 aged 18. Embarked for Egypt 26.8.1915, taken on strength Gallipoli 25.10.1915. Hospitalised 23.12.1915 frost bite to feet. Embarked for France 19.3.1916, promoted T/Cpl 1.2.1917, promoted L/Cpl 2.5.1917, promoted L/Sgt 21.8.1917. KIA Belgium 2.10.1917. Refer Cat No 2564P.Wooden frame, green border around certificate, glass front, centre is a photo of a soldier.Document: “Honour the Brave. Presented to Sgt J J LOWERY by the Members and Friends of the View Street Church of Christ and Bible School in grateful appreciation of his services for God, King and Country in the Great War 1914 - 1918” Bottom centre on white label: JOHN JOSEPH LOWERY “Enlisted 16.6.1915 Regt No 1926 3rd Reinforcements 22 Batt AIF aged 18. Embarked for the Middle East 26.8.1915. Admitted to hospital Gallipoli with frostbite 15.12.1915 Embarked for France 19.3.1916. Appointed Lance Sergeant 2.5.1917. KIA 2.10.1917 at Broodseinde, Belgium. Donated by Mrs Lyla Sutton” Bendigo District RSL Museum civic mementos - certificates, religion - christian, military history

In 1860 the Wurundjeri Elder, Wonga, petitioned the Victorian Parliament for a piece of land in his people’s own country where he could establish a settlement. The land later named Coranderrk was granted. When Wonga died in 1875 his nephew William Barak, known by settlers as ‘King William, last chief of the Yarra Yarra tribe’, became the leader, the Ngurungaeta. William Barak believed strongly in justice for his people, and time and again made the arduous walk to Melbourne to petition to Parliament and to Queen Victoria for his people. ‘Freedom for our lifetime’, he said. The community at Coranderrk welcomed Aboriginal people displaced from other parts of Victoria; they established an economically self-sufficient settlement by growing and marketing hops. Barak negotiated with the Victorian Government officials as they made promises and broke promises. They finally promised to export the whole of a hop harvest of one year. The people worked around the clock to fill the contract; the Government pocketed the proceeds. The community never recovered. Barak died in 1903— a broken-hearted man. (from http://www.sosj.org.au/_uploads/_cknw/files/Corenderrk.pdf) Artist William Barak is buried in this cemetery.Photographs of graves in grass and bushland. It is the Corenderrk Cemetery, and is associated with the former Corenderrk Aboriginal Reserve.corenderrk, wurundjeri, barak, aborigines, aboriginal, cemetery, grave, barak, jemima dunolly

White fought at the Battle of Charasiab and at the Battle of Kandahar in the Second Anglo-Afghan War. For his actions he was awarded the Victoria Cross in 1879. White became commander of the forces in Natal in 1899 at the opening of the Second Boer War and fought at the Battle of Elandslaagte. He withdrew to Ladysmith where he took command of the garrison during the Siege of Ladysmith. When his position there became untenable he was instructed by General Sir Redvers Buller to destroy the guns and surrender the garrison on the best terms he could. White insisted on staying and held out for another four months before being relieved in February 1900. For this he was appointed a Knight Grand Cross of the Order of St Michael and St George. Earlier he had been made Knight Grand Cross of the Royal Victorian Order. In 1903 he was promoted to Field Marshall. White received many awards for his service to his country. They include the Victoria Cross (1879); Knight Grand Commander of the Order of the Indian Empire (1893); Knight Grand Cross of the Order of the Bath (1897); Knight Grand Commander of the Order of the Star of India (1898); Knight Grand Cross of the Order of St Michael and St George (1900); Knight Grand Cross of the Royal Victorian Order (1900); Order of Merit (1905). He also received the Indian Mutiny Medal; Afghanistan Medal; Kabul to Kandahar Star; Egypt Medal (1885); India General Service Medal (1885-87); Queen's South Africa Medal - Defence of Ladysmith; Queen Victoria Diamond Jubilee Medal; King Edward VII Coronation Medal; King George V Coronation Medal; Khedive's Star. Sir George Stuart White's medal and honours are displayed at the Gordon Highlanders Museum. Individual image from photographed poster of tobacco and cigarette cards.george stuart white, battle of charasiab, battle of kandahar, second anglo-afghan war, victoria cross, natal, second boer war, battle of elandslaagte, kadysmith, siege of ladysmith, general sir redvers buller, knight grand cross of the order of st michael and st george, knight grand cross of the royal victorian order, field marshall, knight grand commander of the order of the indian empire, order of merit, indian mutiny medal, afghanistan medal, kabul to kandahar star, egypt medal, indian general service medal, queen's south africa medal, queen victoria diamond jubilee medal, king edward vii coronation medal, king george v coronation medal, khedive star, gordon highlanders museum

This is part of the A.J. Roddy Collection. The type written 'letter' inside cannot be deciphered as the envelope is stuck with adhesive.An Air mail letter/envelope written to A.J.Roddy while a prisoner of war in Stalag XV111 APrisoner of War post/ KRIEGSGEFANGENEN POST/ Service Des Prisoneiers De Guerre/(White writing on Blue Background) AIR MAIL/ PAR AVION/ (London Post Mark) Dater 21 April 1943// Top right hand corner: 21/2D (Pence) [Stamp Postage] with head of King George V (Blue)// RANK AND NAME (typed) Pte Roddy. A. J./Surname in Block letters British Prisoner of War/ Prisoner of War No (typed) 3557/(se note on flap)/ Camp name & No: (typed) STALAG XV111A G.W. 10511/ including subsidairy/ NUMBERING OR LETTERING/ if any EG WORKING CAMP/ COUNTRY (typed) GERMANYof, collection, war, prisoner, a j, roddy, xv111a, airmail, satalag, kriegsgefangenen, post, germany

"MACARONI MANUFACTORY. On the pretty road to the Hepburn Mineral Springs, and not far from where the health-laden waters gush plentifully from the earth, is a two-storied brick it is that Messrs Lucini and Co, carry building, dedicated to the manufacture of macaroni, vermicelli, and the Italians' own especial delight— spaghetti. Here on operations, and Mr Lucini himself was good enough to show the writer around and explain the various proces ses of a manufacture which is little known to Australians. The finest wheat and the mineral waters fresh from the springs are utilised, and by means of a most ingenious machine, the hollow rods of macaroni are turned out in large numbers. Finally, they are packed in boxes and cases, and sent off to the prin cipal agent in Daylesford, Mr J. W. King, who in turn forwards them to all parts of the country. Mr Blackett, thv Govrnment Analyst, writes in most lau datory manner of the productions of the factory, and says that on testing them he found the various sam ples were of excellent quality, and quite equal to any of Italian manufacture. Visitors to the springs should not fail to call in at Messrs Lucini's, which is one of the show places of the district, and will well repay an inspection.A number of women, members of the Lucini family, make macroni and the macaroni factory in Hepburn Springs. lucini, macaroni factory, hepburn springs, spaghetti, macaroni

Originally would have been issued with a scroll & letter from the King but neither with plaque. 1914-1918 Memorial Plaque In early 1920 it was announced that the next-of-kin of all Australian servicemen and women whose deaths were attributable to the First World War would receive a memorial plaque and scroll "as a solace for bereavement and as a memento". The memorial plaques were not uniquely Australian. In fact they were designed and produced in Britain and issued to commemorate all those who died as a result of war service from within the British Commonwealth. The idea for the plaques was originally conceived mid-way through the war. In 1917 a competition was announced to obtain a suitable design and 800 entries were eventually received. The winner, Mr. E. Carter Preston of Liverpool, England, was chosen in 1918. He was awarded a prize of 250 pounds. Mr Manning Pike directed the manufacture of the memorial plaques at the Memorial Plaque Factory set up at Acton, London. Some later plaques were also made at the Woolwich Arsenal. The cost of manufacturing so many plaques must have been considerable. Each plaque had the name of the soldier commemorated individually embossed (some were engraved) as part of the design. The full name was given without any indication of rank or honours to show the equality of sacrifice of all those who had lost their lives. The scroll designed to accompany the plaques was of thick paper, headed by the royal coat-of-arms, and bore the following message: "He whom this scroll commemorates was numbered among those who, at the call of King and Country, left all that was dear to them, endured hardness, faced danger, and finally passed out of the sight of men by the path of duty and self-sacrifice, giving up their own lives that others might live in freedom. Let those that come after see that his name is not forgotten". Underneath the message the serviceman or woman’s name, rank, honours and unit were written by hand in red ink. Because of the late arrival in Australia of the plaques many scrolls were sent out separately. A message from the King, "I join with my grateful people in sending you this memorial of a brave life given for others in the Great War", was included with the scroll. The first plaques were distributed in Australia in 1922. Each plaque was sent out from Base Records Office at Victoria Barracks in Melbourne by second-class mail. Approximately 60,000 plaques were issued in Australia. Families of deceased members of the Royal Australian Navy and the Australian Army Nursing Service also received plaques and scrolls Bronze Memorial Plaque 1914-1918 for 4876 Pte. Harry Milne , 46 Battalion KIA 10/5/1918, In a cardboard square envelope. http://www.awm.gov.au/research/people/roll_of_honour/person.asp?p=493414Embossed around edge of plaque "HE DIED FOR FREEDOM AND HONOVR" Name of serviceman embossed on plaque right of centre "HARRY MILNE"ww1, dead mans penny, kings penny, memorial plaque

This set of two posters were displayed in the sale rooms for wool, skin, hides, and tallow at the Wool Exchange in Melbourne, on the corner of King and Little Collins Street. The posters were found in the storeroom under the white sale room in the late 1970s, when the Melbourne Woolbrokers Association moved around the corner to 530 Little Collins Street. The first poster is dated 21st of September 1914. It predates the second poster which replaced it on the 4th of December 1914. The posters detail that the Auctioneer will accept any bid from German or Austrian buyers on the condition that the buyer is not acting on behalf of any country which is at war with Great Britain. The Auctioneer also reserves the right to cancel any purchases found to be in violation of this condition. Presumably, the posters were in use until 1916, when Australia's 7th Prime Minister, Billy Hughes, negotiated the sale of Australia's entire wool clip to the British Government for the remainder of The Great War. The British government agreed to buy Australia’s entire wool production in 1916 at 55% above market price. In the end, £160,000,000 British pounds was paid by the UK Government to Australia for the nation’s entire wool clip between 1916‑1920. This would be equivalent to £7,619,760,000 in 2022 money when accounting for inflation, or $13,239,000,000 AUD.Two posters on yellowed card. The first poster is printed in black text with a title of “NOTICE”. The second poster is printed in red text with the same title, “NOTICE”. Both posters have 4 body paragraphs of text, detailing restraints put on potential wool buyers because of war with Germany in the Great War. Both Posters are finished with a date in the bottom left corner.the great war, world war one, melbourne wool exchange, melbourne wool brokers association, wool sales, 1910s

During May through to July 1920 Prince Edward, later to become King Edward VIII of England toured Australia to thank the country for its support during World War One and to strengthen ties between Australia and the United Kingdom. He arrived in Victoria on the 26 May 1920 and on the 29 May attended a special agricultural show at the Royal Agricultural Showgrounds at Flemington. Bacchus Marsh district was invited to contribute to a display of agricultural produce and products which was displayed in the Government Pavilion at the Showgrounds. The display according to a newspaper report in the Bacchus Marsh Express on 5 June 1920 included 33 trays of fresh fruit, preserved fruit, pickles, sauces, bacon and other small goods, vegetables, hay grasses, grain, turned wood, wines and other drinks', &c., aided by pot plants, flags, draping of maroon and gold (official Exhibit colors) made up a color scheme and general effect worthy of the occasion. The Prince inspected the exhibit and expressed his admiration of it, his only regret was that he could not give more time to its examination. There was also 'an improvised "pheasant" nestling in one corner, and what "amazing" eyes it had!'. The organiser of the display was F. C. Minns, and the decorator was T. Stewart. This photograph is notable for its size and high quality framing. This signifies the importance the local community placed upon being chosen to participate in a major royal event and the desire to record this in a grand and elaborate way for posterity. Very large framed photograph of the agricultural produce and products from the Bacchus Marsh district displayed as part of a special exhibition for Prince Edward, the heir to the British throne when he visited Melbourne in May 1920. The display comprised a wide variety of produce such as fresh and preserved fruit, meats, vegetables, hay, grasses, grain, turned wood, wines and other drinks. The image is divided in the middle into two different angles of the display.A caption in gold lettering at the foot of the image reads 'The Prince's Show May 1920 Bacchus Marsh District Exhibit Royal Agricultural Society Showgrounds'royal visits, shows and exhibitions

One of a collection of books by local writer Alan Marshall held at EDHS. This one is of "anecdotes and yarns" as described by Marshall before its publication in July 1981 in the Canberra Times. Alan Marshall's Australia, the Australia of "I Can Jump Puddles" has vanished. No longer do we have time to sit on the sliprail and exchange yarns, to drive buggies down long, quiet dusty roads, or to watch the king-hit merchant operating in some small hotel. Even the Cu-nims hold no terrors for a Boeing 427! And yet - Alan Marshall's Australia lives for all those who read this book. Meet Lance Skuthorpe who tethered an old bull in Bourke Street and offered £5 to anyone who could ride it for half a minute and Binjarrpooma, the Arnhem Land terror. Accompany Alan in his horse-drawn caravan or buggy to country sales, pubs and stations and listen with him to great bush eccentrics, lairs and yarn spinners. Go further back and remember Conversation Lollies, the cigarette cards you collected and the school yard games. Can you recall how to test an axe blade, choose a pocket knife, or the penetrating power of Goanna Oil? But this book is more than a nostalgic journey into the past ; it is history for the young and a timely reminder for us all - it is our roots. - Front end papers viii, 165 p. : ill. ; Two copiesISBN 0908090390alan marshall, prose, short stories, ancedotes, australia, tales, yarms

The design for the Shrine of Remembrance was selected by competition among Australian artists and architects. Eighty-three designs were submitted and the winning design was by two Melbourne returned-soldier architects, Philip Hudson and James Wardrop. The inspiration for the external outline came from one of the seven wonders of the ancient world—the mausoleum at Halicarnassus to Mausolus, King of Caria in South West Asia Minor. Although the country was faced with frightful unemployment and financial difficulty in the late 1920s and the 1930s, so great was the gratitude of the people that the huge amount required to build the Shrine was raised or promised within six months from the opening of the appeal in 1928. (https://www.shrine.org.au/About-Us/History) Lodge Bros were commissioned to build the Shrine of Remembrance in St Kilda Rd in the late 1920s. In 1947, Lodge Bros were manufacturing a further stage at the Shrine of Rememberance, that being the carving and fixing of the bluestone servicemen on the top of the 1939-1945 War Memorial at the Eternal Flame. When funding became available for the new undercroft development at the front of the Shrine in 2001, the Shrine Trustees were eager to explore the possibility of the original stonemasons who built the Shrine, to complete the new development. This came to fruition in 2002-2003 when Lodge Bros constructed all the exterior walls of the undercroft development. Phil Luchetta (Managing Director) was able to source and secure the use of the same granite from Tynong Victoria that was used in the original works of the 1930s.Photograpic image of Melbourne's Shrine of Remembrance.shrine of remembrance, melbourne, war memorial, lodge brothers, world war one, remembrance

The World War One Memorial Stained glass windows in the Barkly Street Uniting Church resulted from a request made in 1919 by the Barkly Street Young Men's Club to be given permission to raise money to pay for the project. The window was designed by Fisher Co. Pty Ltd, and was unveiled by a former army chaplain - either Rev. J.A. Gaunt or Rev. Bladen on the 14th March 1920. The total cost of the windows was 171 pounds 10 shillings. The window cost 150pounds, the window was fixed into position for 15 pounds, and three wire screens cost 6 pounds 10 shillings.Digital Photographs of the World War One memorial stained glass windows in the Barkly Street Uniting Church, Ballarat East.Repousse World War One tablet: 1914-1919 For God, King and Country The windows above have been erected as a memorial to the heroic lads of this school and church who fell in the Great War. Brittain, H.O. Butcher, J.C. Cornish, H. R. MM (Richard) Eady, James Arthur Edmends, William H. Ferguson, F. Farrar, A.Z. Gist, C.H. Gates, Stanley C. Grave, Howard B. Hughes, Arthur W. Hughes, George A.C. Jones, William Stanley (Stan) Marshall, Robert R. McConnell, A.R. (Ralph) Muller, A.V. Polkinghorne, E.C. (Clifford) Ridgwell, Herbert R. Sansum, Arthur H. Smith, Alfred G. Tait, Robert E. Tait, Lawrence (Laurie) Veal, Thomas P. Vincent, Leslie A.barkly street uniting church, barkly steet methodist church, barkly street weseyan church, j.a. gaunt, bladen, stained glass, soldier, world war, world war one, mmm

Repousse World War One tablet: 1914-1919 For God, King and Country The windows above have been erected as a memorial to the heroic lads of this school and church who fell in the Great War. Brittain, H.O. Butcher, J.C. Cornish, H. R. MM Eady, Jas Edmends, W.H. Ferguson, F. Farrar, A.Z. Gist, C.H. Gates, S.C. Grave, H.B. Hughes, A.W. Hughes, G.A.C. Jones, Stan Marshall, R. McConnell, A.R. Muller, A.V. Polkinghorne, E.C. Ridgwell, H.R. Sansum, A.H. Smith, A.G. Tait, R.E. Tait, Laurie Veal, T.P. Vincent, L.A. World War Two tablet: This memorial tablet is dedicated to the memory of P. Sullivan, who fell and to those who enlisted in World War II.world war, world war one, world war two, p. sullivan, brittain, butcher, cornish, eady, edmends, ferguson, farrar, gist, gates, grave, hughes, jones, marshall, muller, polkinghorne, ridgwell, sansum, tait, veal, vincent, stained glass memorial, barkly street uniting church, mmm

A post card sent to Master J. Brenner of "Chippenham" Railway Parade, Williamstown by his cousin Ethel for his collection. The connection to Legacy is not known. This postcard is the Country life. Series V registered postcard number 9180. Was named "OILETTE" and was produced and printed by Raphael Tuck & Sons, the date is unknown. This item represents a serie of artistic postcards created in England and even though its year of making is unknown possess an aesthetic significance about the kind of postcards produced by Raphael Tuck & Sons.Postcard with of a country scene with a boy holding a donkey. Handwritten: Dear Cousin, Mother says she promised she would send you some postcards. I am sending these & hope you will like them for your collection. Your Cousin. Ethel. / Master J. Brenner "Chippenham" Railway P. Williamstown. Front side: Printed in photo, "CHUMS" / Handwriten photo sign, [?]lette. Back side: Printed on paper, printed symbols / Raphael Tuck & Sons' "OILETTE" [Regd.]Postcard 9180. / COUNTRY LIFE. Series V. / ART PUBLISHERS TO THEIR MAJESTIES THE KING & QUEEN / Printed in England / If sent Abroad, this space may only be used for Name and Address of Sender. / CARTE POSTALE. / TUCK'S POST CARD. / POSTKARTE. / (For Address Only.) / [Stamp] VICTORIA, POSTAGE, ONE PENNY, 1d. souvenir, world war one

Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili

The Golden King Mine poppet-head stands at the school’s Yan Yean Road exit gate. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p23 Early Yarambat - Tanck's Corner Its early settlers, who in the 1840s were amongst the first non-Aboriginal people in the area, found life tough as they grazed their sheep and cattle. Yarrambat was then known as Tanck’s Corner or Reynolds Corner, after wood carter, Frederick Tanck, who owned land north of Ironbark Road, at the corner of Yan Yean Road, and Thomas Reynolds, owner of the opposite property. After Reynolds sold his land, the corner became known as Tanck’s Corner. In 1929 the district’s name was changed to Yarrambat, believed to mean ‘high hill’ in the Wurundjeri language. Tanck’s Corner was in the centre of gold-bearing country and the district is honeycombed with old tunnels and shafts. However although gold played a dominant role for decades, there was insufficient to develop a substantial township. Meat and agricultural produce made a greater impact. Until the mid-20th century the only substantial building was the primary school. The first gold rush occurred around 1860, the second after 1900; then during the Depression, the Government paid men to pan for gold. The first rush attracted hundreds of Chinese people to Smugglers Gully, who constructed round diggings to keep away spirits. Alluvial miners lived along the Plenty River in tents or humpies - some fenced with gardens - and some miners distilled their own ‘plonk’. It was a wild time and bushrangers - and later gangster Squizzy Taylor - were said to hide4 in the old Pioneer Tunnel in Dunne’s Gully between Heard Avenue and Pioneer Road. Mines opposite Tanck’s Corner included Beer’s Line, Golden Crown and Golden Stairs. Some of the big mines had batteries and stampers to process quartz. At first there was plenty of alluvial gold, as much as two ounces to the ton. At times gold was exposed after heavy rains so fossickers panned for gold around orchard irrigation trenches. Gold was mined until 1984 when Yarrambat’s last operating goldmine, the Golden King Mine, in North Oatlands Road, closed. The Clayton family operated it full-time, making a comfortable living and in the 1960s it was the only private family gold mine in Victoria.5 Gold was such an important part of Yarrambat’s history that a gold poppet-head is the Yarrambat Primary School’s logo. The Golden King Mine poppet-head stands at the school’s Yan Yean Road exit gate. However this school was built in 1988. The original school No 2054, at the corner of Ironbark and Yan Yean Roads, was opened in 1878 and modified to its present form in the 1920s. In 2000 it was relocated to the Heritage Museum at Yarrambat Park.7 The school, whose first head teacher was Charles Planner, consisted of one room with a three-roomed residence. The school was also the community centre. On Saturday nights it was crammed for dances or euchre parties, community singing or other social events. On Sundays, services for different denominations took turns each week. However the school had its teething problems. Parents accused Charles Planner of neglecting his duties and the school closed several times. When it closed in 1892, only church services continued. Social activities moved elsewhere, such as the tennis club to the Stuchbery tennis court opposite. A sports day and woodchop on Boxing Day around 1900 was held at the Evelyn Hill Hotel, also called Evelyn Arms and Tunnel Hill Hotel, on the Greensborough–Diamond Creek Road. An annual agricultural show in Diamond Creek paraded through the town, and New Year’s Day picnics at the Yan Yean Reservoir included highland dancing and competitions. Also popular were the Indian hawkers who visited every three months, selling trinkets, clothing and other items. One called Jimmy ‘Allem dem Bedi’, gave presents and told stories, played draughts and sold delicious curries he cooked over his camp fire at night.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, golden king mine, tanck's corner, yarrambat primary school

This suit was owned by Steve Lee, a three time Australian Olympian who competed at Sarajevo 1984, Calgary 1988 and Albertville 1992. He also achieved 1st in the Furano World Cup Super G in 1985. Steve Lee grew up in Falls Creek and had skis on his feet when he was just two years old. He later became a member of the Falls Creek Race Club and at the age of 14 won State and National Junior titles. After repeated success, Steve was selected to race overseas in the Australian Junior team. He won the Australian Open Championship at the age of 17. For 10 years, Steve never missed a race in the World Cup Circuit. Overall, He claimed 20 top 15 finishes in Downhill, Super-G and combined events. Towards the end of his career Lee swapped the World Cup circuit for the World Pro Tour in the USA, winning the Pro Downhill Tour ‘King of the Mountain’ title. He was also running a photography business in Falls Creek and was also involved in sports commentating on Australian television. This included commentating Alpine Freestyle events at four Winter Olympics and several World Championships. Steve co-founded Chill Factor Ski magazine and spent a decade as a National Selector and President of Falls Creek Race Club. He also became involved in movies, working with Roger Moore and Jackie Chan as a stuntman. As well as these activities Steve started guiding in the mid-90s and established Back Country Tours at his home area in Falls Creek Australia and also in Hakuba, Japan in 2011.This item is significant because it was worn and donated by an Australian Triple Winter Olympian who began his skiing career with Falls Creek Race Club.A green and gold Spyder brand ski suit worn for downhill skiing Olympic events by Steve Lee.Spyder brandsteve lee, winter olympics, australian triple winter olympian, falls creek race club

Steve Lee is a three time Australian Olympian who competed at Sarajevo 1984, Calgary 1988 and Albertville 1992. He also achieved 1st in the Furano World Cup Super G in 1985. Steve Lee grew up in Falls Creek and had skis on his feet when he was just two years old. He later became a member of the Falls Creek Race Club and at the age of 14 won State and National Junior titles. After repeated success, Steve was selected to race overseas in the Australian Junior team. He won the Australian Open Championship at the age of 17. For 10 years, Steve never missed a race in the World Cup Circuit. Overall, he claimed 20 top 15 finishes in Downhill, Super-G and combined events. Towards the end of his career Lee swapped the World Cup circuit for the World Pro Tour in the USA, winning the Pro Downhill Tour ‘King of the Mountain’ title. He was also running a photography business in Falls Creek and was also involved in sports commentating on Australian television. This included commentating Alpine Freestyle events at four Winter Olympics and several World Championships. Steve co-founded Chill Factor Ski magazine and spent a decade as a National Selector and President of Falls Creek Race Club. He also became involved in movies, working with Roger Moore and Jackie Chan as a stuntman. As well as these activities Steve started guiding in the mid-90s and established Back Country Tours at his home area in Falls Creek Australia and also in Hakuba, Japan in 2011.This image is significant because it captures an Australian Winter Olympian and pioneer of the Falls Creek Ski community.A colour photo of Steve Lee in his uniform featuring the logo of the Albertville Winter Olympic Gamessteve lee, australian olympians

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

St. Matthew's Church has historic significance as the town's church and physical and social focus for the community. The standard design buildings are good examples and important streetscape elements. The war memorial cross is the area's monument to the 20th century wars and its modest scale in comparison with the granite Eltham and towered Kangaroo Ground memorials illustrates the lack of affluence in the town and surrounding area. The grouping of church, school, store and post office is typical of country villages throughout Victoria. The Radiata Pine plantings are significant as an intact line of shelterbelt planting typical of the early 20th century. (Bick Study 1992) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p63 Panton Hill’s first church services were held in a simple building made of paling timber, opposite the Hotel de France. The building was also used for Sunday School, a school and a hall.1 The St Matthew’s Church and hall at the corner of Church Road and Kangaroo Ground-St Andrews Road, were built in the early 20th century in the standard rectangular style of the times. The intact belt of Radiata Pines was common at that time. The war memorial concrete cross is the area’s monument for the 20th century wars. It is much more modest than those in Eltham, and particularly in Kangaroo Ground, demonstrating those townships’ comparative affluence.2 Early settler J Hughes, who donated the land to the Church of England, was the first to be married at St Matthews when he married Rachel Coutie. In later life he became a minister of religion.3 One much-liked preacher was George Hollow, who with his sister playing the harmonium, conducted church services at Panton Hill, St Andrews and Christmas Hills, for many years.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, panton hill, st matthew's church, panton hill war memorial

On the 4 August 1934, to mark the 20th anniversary of the Great Britain declaration of war on Germany, 106 trees were planted, during a ceremony, on the lawns of the newly created garden of the Shrine of Remembrance. The Shrine of Remembrance was built to provide a place to grieve and remember Victorians killed in the First World War (1914-18). Prince Henry, the Duke of Gloucester and son of King George V, officially opened the Shrine before a crowd of 300,000 people in November 1934. Captain Robert Sunter, commander of the coastal liner Manunda, Adelaide Steamship Company, was chosen to plant a Queensland kauri (tree - number 100) on the main avenue from Domain Rd leading to the Shrine of Remembrance. The photograph was published in the Herald (4 August 1934, p. 40). In the Argus (Melbourne, Vic. : 1848 - 1957), Friday 3 August 1934, page 8 In Memory of the Merchant Service- Captain Sunter to Plant Tree at the Shrine Tomorrow will be the 20th anniversary of Great Britain's declaration of war on Germany, and at 10 and. Captain R. Sunter, the commander of the coastal liner Manunda, will plant a tree in the Shrine! of Remembrance reserve In memory of the officers and men of the Australian merchant service who gave their lives during the war. The tree, , which will be No.100 in the reserve, will bear the following inscription based on the wording of the ' British Mercantile Marine memorial at Tower Hill. London: "1914-1918. In remembrance of the officers and men of the Australian Mercantile Marine who died for King and Country and have no grave but the sea. Planted August 4, 1934." During the war 12 ships of the Australian merchant service were sunk and 95 officers and men lost their lives.The Shrine of Remembrance committee recently asked the director of navigation (Captain J. K. Davis) to nominate a member of the mercantile marine to plant a tree in the reserve. Captain Davis passed on the request to the secretary of the Merchant Service Guild of Australia (Captain T. D. Snape) and, after having conferred with various sections of the sea-going service, Captain Snape announced yesterday that Captain Sunter had been chosen unanimously. Captain Sunter has a distinguished war record as commander of the hospital ship Wandilla. Born at South Shields, in England, in 1878, he is a son of the late Canon Sunter, of Adelaide. He served an apprenticeship in sailing ships, and soon after obtaining his master a certificate entered the service of the Adelaide Steamship Company, where he has remained. In the Wandilla during the war Captain Sunter became known to thousands of wounded soldiers and troops." Padre Frank Oliver of MtS can be seen assisting with dedication at far left. Captain Robert Sunter who also served in WW1, a friend of the seamen and the mission, died a month later in Cairns. A window funded by crew of the Manunda and friends was dedicated to his memory in St Peter's Chapel, MtSV in February 1936 by Padre Oliver. (see item 0038).Depicts one of the few memorials specifically commissioned for Merchant seamen of WW1 and in later years also a focus for those who died in WW2 and other conflicts. Mounted black and white photograph of a group of people at a tree planting, minister of religion at far left, on dark grey mount with typed caption label on the lower edge of mountTyped caption in upper case: CAPTAIN R. SUNTER OF THE M.S. “MANUNDA”, AT THE INVITATION OF THE TRUSTEES OF THE WAR MEMORIAL IN MELBOURNE , PLANTS A TREE IN THE AVENUE OF REMEMBRANCE TO COMMEMORATE THE OFFICERS AND MEN OF THE AUSTRALIAN MERCANTILE MARINE WHO BETWEEN 1914 AND 1918 DIED AS A RESULT OF ENEMY ACTION AND WHO HAVE NO GRAVE BUT THE SEA. AUGUST 4TH 1934padre oliver, captain robert sunter, m.s. manunda, war memorial, mercantile marine memorial tree, melbourne, shrine of remembrance, wandilla, hospital ship, adelaide steamship company, memorial trees, queensland kauri