Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) detailing Clifton Pugh's garden at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting the Print Studio at Dunmoochin.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, studio, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her Mother took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin.Lithographic print in black and white depicting Gate # 1 at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate 1, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white depicting bushland and a pond reflecting light.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, pond, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Demonstrates an important part of Ballarat's tramway operations during the Second World War when Conductresses and many women were employed by the SEC and yields information about materials printed for the Australia Remembers exhibition in 1995 by the BTM.Seven colour printed A4 sheets used on the "Ballarat Trammies at War" exhibition at depot and CHHA fair. .1 to .7 printed on coated paper for use in bubble jet printers, .8 - A4 size white photocopy paper. 249.1 - Welcome poster - used at depot 249.2 - "How did they cope"? 249.3 - "Coping with conditions" 249.4 - "Conductresses Triumph!" 249.5 - Credits poster - used in video tape only. 249.6 - Credit poster - used in exhibition. 249.7 - Any further information 249.8 - 12 sheets - script for video tape. Paper - Ink jet paper by Gilbert Paper - "Jet-Tech" - 92 brightness, 210x 298, Made in USA - Menasha W 54952. Images of items added 29/9/2013.trams, tramways, exhibitions, ballarat, world war ii

Date is approximate. This is one of a series of photos donated by Arthur Lyons. Lyons family history: Arthur's father, Fred Lyons initially worked for George Rea's cab service until he set up his own business. He started with a horse and hansom cab but in time he changed over to a motor vehicle and continued his service until 1960. Frederick Adolphus Lyons (1891-1980) was born in Surrey Hills, son of Thomas and Catherine Lyons. He married Elizabeth Ruby Hall in 1918. They lived at 55 Sunbury Crescent. The Lyons’ home in Sunbury Crescent was called ‘Knopshambury’ - this was probably a misspelling of Knockshanbally in Co Kilkenny, the birth place of Fred’s father, Thomas Edmund Josias Lyons (1846-1915). Arthur Lyons was born in Surrey Hills on 12 Jun 1920. He became a motor mechanic / welder and lived his whole life at 55 Sunbury Crescent. The donation was made while he was in hospital. He died shortly afterwards (23 Sep 1990). Donation was finalised by a neighbour, Mrs Florence Ann Armitstead, wife of Glen Victor Armitstead. Glen was a local hairdresser. They moved to 11 Sunbury Crescent after their marriage in 1939. Arthur had no relatives to distribute the material to. The buildings date from circa 1887 and extended some way down Sunbury Crescent. The address was 63 Sunbury Crescent on the corner of Union Road. Built by Albert Mills for the Premier Land Agency; taken over by Timothy Leigh in 1893. The building housed a variety of shops – initially the land agency, but later shops included at various times a fruiterer, florist, carpenter, fishmonger, upholsterer, plumber. However, by the time this photo was taken in the 1930s it was occupied by Triumph Press. The printing industry continued to have a lasting presence. Triumph Press was followed by Surrey Press and in 1970 New Life Publications moved to the site from Abbotsford. It was about this time that this original building was demolished to make way for a modern print works. Gradually the needs of the printing business absorbed other properties along the Union Road frontage. The boy in the photo is Arthur (Tiger) Lyons and beside him is Alf Johnson, the local printer. The Lyons family lived adjacent to these buildings at 55 Sunbury Crescent.Black and white photo of a section of double-storey terrace buildings in Sunbury Crescent Surrey Hills, taken looking towards the corner of Union Road. The bricks are two-toned and laid in herringbone pattern. The verandah on the 2nd story is filled in with cast-iron lacework panels. There are 2 vintage cars in front of the terrace. A young boy sits on the running board beside a man dressed in suit and hat. printers, vintage cars, sunbury crescent, victorian style, union road shops, arthur lyons, arthur frederick lyons, alf johnson, triumph press, surrey press, new life publications, timothy leigh,, albert mills

OLD GOLD The Magazine of the Bendigo High School 1927 - Qui Patitur Vincit - 43 Pages. On Inside Cover Advertisements for: Frank Every's Bendigo Book and Stationery Centre Hargreaves Street phone 874 - Myer's Bendigo Pty Ltd General Drapers and Outfitters Pall Mall and Williamson Street Pones; 3 and 44 - Hartleys 9J.L. Shoosmith) Motor Cycles: indian and Triumph. On inside back cover ads for : John Leaney Bendigo Sports Depot - Cohn Bros. Ltd, Bendigo and Swan Hill Drinks - Beehive Stores Pall Mall and Hargreaves Street - J.H. Sabbott & Co Boots and Shoes Pall Mall Bendigo and at Eaglehawk and Echuca. On back cover Advertisement for H.M. Leggo & co Ltd merchants, Importers, manufacturers established 1881 Bendigo and Melbourne. Old Gold is a Magazine written by students for studentsmagazine

Yields information about the SEC and its operations during the second World War.27 A4 sheets of copies of relevant papers about the SEC trams, Ballarat & conductresses during the Second World War, from SECV's Staff Magazine "SEC News". Date Page No. Notes 9/1942 6 Our first Conductresses Xmas 42 & 8 Tramway Extension New Year 43 13 Women in the SEC Workforce photos " " 43/44 33 Ballarat Conductresses feted June 1944 28 Between ourselves " " 29 Conductresses raise funds Oct. 1944 10/11 Conductresses triumph " " 19 Ballarat's Success Sept 30, 1946 17 Appreciation for our tram Conductresses Dec. 15, 1945 2-18 Six years of war - the Commission's record. 23 sheets scanned. Photocopies not the best - see high resolution file. See SEC Newstrams, tramways, sec, ballarat, world war ii, conductresses.

Ten captions or label cards used in the Museum's exhibition entitled "Australia Remembers". Printed on ink jet coated paper, used Microsoft PowerPoint, BJC4000 printer, & Glued onto heavy card. Each has 2 Velcro dots on rear. .1 125 x 252 Group of Conductresses by No. 29 .2 87 x 270 Secret of Mrs. Mitchell's success - Treasure Tram .3 50 x 255 Fund raising - under Conductresses Triumph! - photo .4 102 x 250 Fund raiser float caption .5 75 x 237 Tram statistics caption - used for the two graphs .6 96 x 177 First conductresses ready to go .7 62 x 248 Replica headlight caption .8 75 x 263 Headlight drawing note .9 60 x 244 No. 27 caption .10 57 x 260 Women at work for the SEC Image of cards added 19/10/2013.trams, tramways, btm, exhibitions, world war ii

In 1919, Australian schoolchildren received a special commemorative medal to mark the end of World War I. This medal, known as the “Peace of 1919” medallion, was issued by the Defence Department and distributed to schoolchildren throughout Australia. The medallion is circular with a plain edge and an integral suspension loop. On the obverse side, it features a symbolic female figure of Peace, holding a sword and standing on a plinth marked “PEACE 1919.” A dove flies behind her, and two figures freed from shackles are at her feet. The reverse side showcases a central panel surrounded by laurel leaves, topped by the King’s Crown with the word “VICTORY” over rays of the rising sun. A sailor and a digger stand at ease on either side of the panel, which bears the inscription “THE / TRIUMPH / OF / LIBERTY / AND / JUSTICE.” Below the leaves, a small panel displays the words “THE PEACE OF 1919” and the manufacturer’s name. The medallion was issued to commemorate the signing of the Versailles Peace Treaty in 1919, which officially ended World War I. Originally, the medals were suspended from a narrow piece of red, white, and blue striped cotton ribbon. This medallion served as a reminder to a generation of the service and sacrifice of Australians during the war. It symbolized the achievement of peace, albeit at great cost. Each child in Australia aged 0-14 years (and up to 16 if their parents were in the armed forces) received this small but meaningful token of remembrance12. Small medallion with faded red, white and blue ribbon with pin. Female on the front. Wreath on back with two males either side with uniformmedals, 1919, ww1

.1) White Hills - Sixty Four Local Heroes Hard, cardboard cover, glossy finish, black print on front, spine, illustrated black / white photo of Arch of Triumph, White Hills. Colour photos, portraits, medals & scenes. No page numbers. .2) Borough Bravery Eaglehawk - Possibly Australia's most decorated municipality in the Great War. Soft cardboard cover, black print on front & spine. Illustrated colour / sepia photo of map superimposed with numerous portraits of soldiers back & front. Cut, plain, glossy white pages. Illustrated black / white / colour phots of portraits, medals & scenes. No page numbers. .3) Bendigo's Bravest Recipients of Bravery Awards in the Great War. Hard cardboard cover, glossy finish. Block print on front & spine. Illustrated black / white sepia photo of a map superimposed with numerous portraits front & back. Cut, plain, glossy white pages. Illustrated black / white / colour phots of portraits & medals. No page numbers. All are slightly different in size.books, bendigo, white hills, eaglehawk, bravery, bravest

On the 19th and 20th September 1910, the Mission organised a fundraising evening at the Masonic Hall on Collins Street. The "Tableaux vivants", called "Tennison's Dream of Fair Women" were arranged by artist Violet Teague. She arranged and painted the decors for the "tableaux vivants" in the Siddeley Mission. It's likely she also created the cover of this programme. "Mother and Lover of Men the Sea" is a verse form the poem: The Triumph of Time by Algernon Charles Swinburne While she was working, seamen from the Carnarvon Bay shipwreck were welcomed to the institute and subsequently invited to the evening. "They went through a large room, where a lady was standing on a scaffolding pointing a scene for the enter" tainment which is to take place this evening in the Masonic-hall. The lady was Miss Violet Teague, but she took her mind and her brush off the effects in marine blue sufficiently long to learn the main outlines of the story. " (Argus 19 September 1910). "During the evening the Rev W F Haire, acting chaplain to the mission announced that among those present were the shipwrecked survivors of the Carnarvon Bay, which was wrecked at King Island on Thursday last The men, who bore no traces of the hardships they endured took their places on the platform, whilst the large audience cheered itself hoarse and sang "For They Are Jolly Good relics". (Argus 20 September 1910) In 1935, Violet Teague was on the passengers on the C.B. Pedersen, one of the last windjammers. She Drew and painted during her voyage and exhibited the artworks in 1938.This rare programme is the last remaining testimony of the relationship between the Mission and famous artists of the time who provided illustrations for quotation calendars (Daryl Lyndsay, John Shirlow).12 pages programme. The cover is light blue paper with the design of the Greek ship printed in black ink.violet teague, tableaux vivants, 1910, fundraising, theatre, play, algernon charles swinburne, sponsors, advertising, carnarvon bay, shipwreck, una le souef, masonic hall, lady gibson-carmichael, willsmere certified milk and co, fry's cocoa, remington typewriter, hypol, lhlg, ladies harbour lights guild

By grand final day, Geelong was in the midst of a 26 game unbeaten run, and Collingwood posed few problems on the big day. The Cats triumphed by 46 points after a dominant second half. Geelong posted a 16-2-1 record in the home and away campaign and defeated Collingwood by 54 points in the second semi final. Grand final day was a prosession with back-to-back flags wrapped up by three quarter time. Geelong: 4.2, 5.3, 11.6, 13.8 (86) Collingwood: 1.2, 3.3, 5.4, 5.10 (40) Goals: Goninon 5, Trezise 4, Davis, McMaster, Flanagan, Worner 1. Best: Williams, Trezise, Sharp, Goninon, B. Smith, Morrison. Line up: B: Bernie Smith - Bruce Morrison - Norm Sharp HB: Geoff Williams - John Hyde - Russell Middlemiss C: Bert Worner - Doug Palmer - Terry Fulton HF: Leo Turner - Fred Flanagan (cap) - Bob Davis F: Jim Norman - George Goninon - Peter Pianto Foll: Bill McMaster - Russell Renfrey - Neil Trezise Res: Syd Smith - Ron Hovey Coach: Reg Hickey Also played in 1952 Harry Herbert, Tom Morrow, Leo O'Halloran, Noel Rayson, Les Reed, Merv Richardson, Don Scott, Norm Scott, Jack Stevens, Loy Stewart, George Swarbrick, Jim Tuckwell, Tony Walsh, Peter West Information provided by Col Hutchinson GFC HistorianFootball mounted on a timber base. Base is circular with sloped sides with a depressed circle in the top centre. There is a thin rounded stand which supports the top of the timber base which is a flat oval shape. A brown leather football is attached to the top of the timber base. Football is comprised of four individual panels which have been stitched together. One panel is attached to the timber base. A second panel has the SHERRIN logo although this is heavily faded. A third panel has a drawing of a pennant which reads -PREMIERSHIP 1952- above an oval shape with -WON BY/ GEELONG- written inside and the team scores on either side. A fourth panel has the Geelong Footbal Club logo in the centre, the team list on the left and the club officials on the right.1952 Premiership. Bill McMaster. Doug Palmer. Peter Pianto. Russ Renfrey. Neil Trezise. Geoff Williams. Fred Flanagan. Ron Hovey. John Hyde. Russell Middlemiss. Bruce Morrison. George Goninon. Leo Turner. Bert Worner. Bob Davis. Syd Smith. Norm Sharp. Bernie Smith. Terry Fulton. Jim Norman. Reg Hickey1952 premiership. bill mcmaster. doug palmer. peter pianto. russ renfrey. neil trezise. geoff williams. fred flanagan. ron hovey. john hyde. russell middlemiss. bruce morrison. george goninon. leo turner. bert worner. bob davis. syd smith. norm sharp. bernie smith. terry fulton. jim norman. reg hickey, geelong cats, premiership, geelong grand finalists, football

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. A form of sticker began in 1839 when Sir Rowland Hill invented adhesive paper. The first self-adhesive label was invented in 1935 by Stanton Avery - Avery Labels. In the 1940s "bumper strips"were created. Now referred to as bumper stickers. The stickers shown are for car dealerships, motor bike, tractor and agricultural equipment and entertainment. They are for places in Ballarat, Bendigo, Geelong and Wonthaggi, indicating that Zilles were well known for the quality of their products. These stickers were possibly produced in the 1960s, 1970s and early 1980s. The Swinger was a local dance that ran at the Ballarat Civic Hall between 1972-1975. Dress was neat casual and men were required to wear a tie. The average age of attendees was 18-25.Dark green vinyl cover, three bolts holding it together. Thirteen pages - black cover paperSticker on each pagezilles printers, stickers, bumper stickers, self-adhesive label, santo avery, sir rowland hill, car dealers, motor cycles, farm equipment, ballarat, bendigo, geelong, wonthaggi, ballarat motors, rambler, triumph, toyota, brown murphy geelong, leyland australia, berko datsun geelong, mental ballarat, sound conditioned bendigo, col hawkins, frank faulkner car sales, patron products ballarat, mil haven tractor cab ballarat, john basin ballarat, swinger, b & g myers pty ltd ballarat, arthur shultz, don mullin motors wonthaggi

This menorah has 7 candle holders joined in a horizontal row, on thin rod stands. The circular holders sit on two flat silver strips that are attached to silver rectangles on either side of the holders, creating a shield-like form on either side of the holder. The stand on which this construction is propped up, is made up of rods that stand vertically on either side of the holders and behind the shields. The rods are intersected by other rod 'lines' that visually weave horizontally across the top half of the stand. Each point of intersection of lines and rod stands is marked by a circular shape. Artist's statement: In terms of the Jewish diaspora, the variety and flexibility of approaches within Judaism has enabled the culture to endure and nurture ever stronger connections despite physical distance. This notion of an enriched connectedness was one of the two central ideas which contributed to the development of this piece. The second was the idea of light and its cultural significance. Light is about both practical illumination and spiritual expression. While revealing and manipulating material and form, light has also come to stand for the triumph of goodness over evil for many cultures, Of utmost importance in Jewish ritual, light and its media are also recognised symbols of connection and interaction for Jewish people throughout the world. (1999, Blessed Be the Work, Australian Contemporary Design in Jewish Ceremony II)

Information from the donor, Natale Cerini's daughter: He was a retired accountant who commenced the Surrey Hills Observer, one of the early free local papers, in about 1933 at the request of the Surrey Hills Progress Association of which he was a member. He regarded his solo effort in creating, editing and publishing the paper as a community service for which he received no remuneration. The Observer was self-funding through its advertisements which Mr Cerini personally collected throughout the area. The Observer was issued fort-nightly and printed by the Johnson family at the Triumph Press in Sunbury Crescent until about 1946 when Mr Cerini relinquished it to one of the newly-established post-war local papers. Photo thought to have been taken in 1936 when Mr Natale would have been 69, as he retired in 1932 at 65 years of age. Electoral rolls give the following addresses: 1919: 293 Dandenong Road (accountant) and 1919 Boondara, Croydon (accountant); both with Ethel May also listed. 1924: 167 Union Road, Surrey Hills (accountant) 1931 and 1943: 215 Union Road, Surrey Hills (accountant). Marriage: Natale Benjamin Cerini; Spouse Name: May Ethel Swan; Marriage Place: Victoria; Registration Place: Victoria;Registration Year: 1918; Registration number: 5787. Ethel May Cerini: Death Place: S Hills, Victoria; Age: 69; Father's Name: Ernest Harrison; Mother's Name: Frances Ann Clark; Registration Year: 1951; Registration Place: Victoria; Registration number: 10736; Estimated Birth Year: abt 1882. Natale Benjamin Cerini: Death Place: Glen, Victoria; Age: 89; Father's Name: Joseph Natale; Mother's Name: Sarah Cooke; Registration Year: 1954; Registration Place: Victoria; Registration number: 10612; Estimated Birth Year: abt 1865.Black and white photo of a hatted gentleman with a walking cane and a pipe and wearing glasses. He has a rosette in his suit buttonhole and a ribbon on his lapel. The background is blurred but is reliably identified as the Surrey Gardens during Empire Day celebrations. SH368 on rear in pencilempire day, festivals and celebrations, surrey gardens, newspapers, surrey hills progress association, surrey hills observer, triumph press, natale cerini

Bob Conroy died on Tuesday, December 12, 2017 at age 88. The Daylesford trainer and brilliant horseman enjoyed a life dedicated to harness racing, which he shared with his wife Pat and their five children, including Glenn, Anne-Maree and Peter, who themselves have combined to drive more than 800 winners. Renowned as an outstanding trainer of trotters, Conroy spent a life training from Daylesford, having been raised in nearby Korweinguboora before occupying the former Daylesford Trotting Club track, from where he would often venture into neighbouring Hepburn Regional Park to educate his horses. A trots trainer, driver and breeder, Mr Conroy’s training successes include Mary Beverley’s win in the 1973 V. L. Dullard Cup, Lincoln Star's win in the 1978 Bendigo Pacing Cup and 1978 Italian Cup, and the Lightfoot Laurels on four occasions (Lucy Lastic 1997, Miss Universe 1999 and 2001 and False Gem on 2008). His greatest stakes win came when Amazon captured the $30,000 Australasian Trotters Championship final in 1984 and then the same year the E B Cochran Memorial Trotters Cup, while notable triumphs also include Mister Everest in the 1990 Chris E Howe Trotters Cup, two Central Victorian Trotting Championships in 1991 (Omaorio) and 2005 (Sutters Glory), the 1996 Coulter Crown with Lucy Lastic, First Signal's win in the 1999 Cranbourne Trotters Cup and then the R C Freestone Trotters Cup with Miss Universe. Other notable performers he trained throughout his distinguished career included multiple metropolitan winners King’s Pride, Eden’s Return, Magic Madge, Minnesota Fats, Hot And Dry, Kyvalley Duke, Speeding Fine, Baltic Prince and Looks Like Me. Bob Conroy’s trotters Bootleg Bert and Margaret Ruth delivered his last trotting wins. Yellow with black Vrb conroy, lincoln star, amazon, bendigo harness racing club, bhrc, bendigo, horses, racing colours, trotting, pacing, harness racing, bob conroy, r conroy

Cogan is a textile artist and her work is political in nature. 'War and Peace' is about the Vietnam War and a statement about patriotism in war, of lessons not learnt, of remembrance and never forgetting. This work is an expression of her feelings towards this time and of her husband's experience who fought in this war. The Republic of Vietnam 'Vietnam Campaign Medal' is from the former country of South Vietnam (Republic of Vietnam). Established in 1966, it was awarded to members of United States, Australian, and New Zealand military forces serving six months or more in support of Republic of Vietnam military operations. The medal is issued with a device known as the 1960 Bar. The bar displays the date of 1960 followed by a dash and a blank space. The unusual appearance was caused by the government of the Republic of Vietnam stating that the 1960 bar would show the dates of the Vietnam War from start to finish, with the ending date placed on the 1960 bar after the South Vietnamese had triumphed over North Vietnam (the Democratic Republic of Vietnam). Since South Vietnam fell, and the government ceased to exist, an ending date for the 1960 Bar was never established. The Vietnam Campaign Medal is considered a foreign award by the U.S., Australian, and New Zealand governments. The joint Australian and New Zealand campaign medal awarded for service in the Vietnam War is the 'Vietnam Medal'. The obverse of this medal shows the crowned head of Queen Elizabeth II, with titles, while the reverse has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam. The RSL poppy (the Flanders poppy) has long been a part of Remembrance Day, the ritual that marks the Armistice of 11 November 1918, and is also increasingly being used as part of Anzac Day observances. During the First World War, red poppies were among the first plants to spring up in the devastated battlefields of northern France and Belgium. In soldiers' folklore, the vivid red of the poppy came from the blood of their comrades soaking the ground. The poppy soon became widely accepted throughout the allied nations as the flower of remembrance to be worn on Armistice Day. Today the RSL continues to sell poppies for Remembrance Day to raise funds for its welfare work. "War and Peace' is significant as it explores and highlights a period in history (the Vietnam War), which was contentious both socially and politically. Cogan and her family lived locally, in the Shire of Eltham during this time, and her work is a reflection of the experiences and sentiments of a section of the Nillumbik community. Textile piece. 'War": Cast muslin, machine embroidery onto white calico. Tanin dye, poly thread, side bust view (hand, shoulder and arm). Black machine stiching on shirt and shirt pocket with two vietnam medals. A replica of the 'Vietnam Medal' in muslin is shown reverse and has the inscription VIETNAM above a symbolic representation of the ideological war in Vietnam, which is of a male figure standing between two spherical shapes. The ribbon has a vertical central section of bright yellow which has centrally superimposed on it three thin stripes of red, (representing the South Vietnamese flag) flanked by two stripes of red (representing the Army). On the left is a dark blue stripe representing the Navy and on the right, a light blue stripe representing the Air Force. A replica in muslin of the second medal is the Republic of Vietnam 'Vietnam Campaign Medal' of the former country of South Vietnam. The ribbon has green and white strips with a device bearing the inscription ‘1960 – ‘. The medal is traditionally a gold and white enamelled star with a green, red and gold centre motif. Right hand is touching the medals/heart, while left arm is left resting to the left side over a crutch which ends in a rolled up bandage. 'Peace': Cast muslin, machine embroidery onto calico. Black dye, poly thread and RSL poppy. Side bust view (hand, shoulder and arm). Yellow machine stiching on black shirt and shirt pocket with RSL red poppy on shirt pocket. Right hand is reaching to touch the poppy, while left arm is slightly bent resting on its' left side. Nonetextile, muslin, embroidery, vietnam war, medals, vietnam medal, vietnam campaign medal, rsl poppy, war, peace, armistice, remembrance day, anzac

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Black and white newsletter printed on paper with staple binding. 16 pages.Front Page: R / RECTE ET FIDE LITER / RUYTON REPORTS / Ruyton Girls' School / 12 Selbourne Road, Kew 3101 / Telephone: (03) 819 2422 / Facsimile: (03) 818 4790 / November 1991 / Vol. 6 No. 2 / 'Walkathon': A Triumph! / Final Total: $35,000.00 / The extraordinary success of this event in which every girl from Prep to Year 12 participated / must be attributed to School Co-Captains, Amelia Jones and Kadri Kutt. Loyally supported / by the Sports Co-Captains, Juanita McLaren and Penny Mudge, their leadership ensured / that Mr. Stan Guilfoyle would generously provide maximum support for their efforts. Our / grateful thanks go to all parents and other sponsors who helped our girls achieve this / outstanding result. / School Co-Captains Kadri Kutt and / Amelia Jones with Simone de Kever / and Catherine Littlejohn / Mrs Gillies, Kadri, Amelia and others set off on the Walkathon. (For an update for the / Physical Education Centre see page 10) /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

KEVIN ‘BOOFA’ INNES By Lucy McCormick Kevin was a member of the celebrated Innes clan from Inglewood, in Central Victoria. “I think the first Innes’ came to Inglewood in 1851. My daughter used to say she can’t marry anyone from Inglewood, because she’s related to them all,” says Kevin. ‘Boofa’ is enjoying some well-earned relaxation on the couch after breaking a kneecap six or seven months ago in a track work incident. Not that it seems to be bothering him too much; he’s got plenty of time to keep up with the trots on television. “I do follow them,” Kevin says. “I don’t miss many, and I do have a bet. I like to sit in the chair and drive a race as much as anyone.” With an illustrious career both as a trainer and in the sulky, it’s a safe bet that Kevin Innes is a more than handy ‘grandstand driver’. His name is associated as a trainer/driver with many handy horses, including Lea Sands, Imatoff and Stormy Morn to name a few. Kevin is typically circumspect about his bigger triumphs, however that doesn’t seem to be what interests him the most. “I’ll tell you something,” he declares, doing just that, “I like winning with the horses that were no good. Some people never get a good horse. Imagine that. Luck is a very, very important thing. You have to have luck to buy a good horse at the sales, to get it going, keep it sound, find a race for it, find and owner and get a draw. And they still make a liar of you.” Funny, interesting or quirky stories seem to be of greater interest to Kevin, such as the time he had a strong chance in a standing start race – the favourite in the race being his only worry. “I told the owner it only had a 20-metre handicap – I couldn’t beat it off that,” he remembers. “So I was leading, waiting for the favourite to run past me. Toward the finish, I heard it coming, and it ran straight past all right – minus the driver. He’d fallen out of the cart and I won the race. Just lucky.” The Innes family have always been heavily involved in one sporting pursuit or another – Kevin himself being a champion bike rider of his time. “My Uncle Roy was a good bike rider, so he dared me to have a go. It turned out I was quite good at it as well.” So good, in fact that for many years Kevin was able to make a living from bike riding, riding the ‘board track’ for many years. “We trained hard. Bike riding was very big back then, we’d train and ride three or four times a week.” Kevin’s riding career spanned four Herald Sun Tours, a Warrnambool to Melbourne and a Sydney to Melbourne race, to name a few. “It definitely gets you in – it was long hours,” he muses. “But like anything, horse racing included, you only get back what you put in. We trained hard. I never drank, and I still don’t. I’ve seen that many athletes, great ones too, brought down by alcohol.” Lucky with injury too, Kevin can only remember a sore ankle – as well as the requisite scrapes and abrasions from tumbles on the wooden boards of the velodromes. He still enjoys watching all the big bike races when he can. “You can watch them race all over the world – France, Sweden, Germany. “To be honest I sit up and watch them with my son and we get just as much of a kick looking at the countryside than anything else. It’s so different to when I was racing.” Betting on the bike racing was big in Kevin’s day as well, and some of the bookies Kevin saw betting on the bike racing, he saw at the Showgrounds betting on the trots on a Friday or Saturday night. “Racing was different back then. There would be twelve thousand people at the showgrounds – they don’t have to come anymore, it’s just as easy to watch it on the TV.” Kevin remembers in those days that drivers had to ‘weigh in’ as well – everyone who drove needed to weigh ten stone (just under 65 kilograms). It’s something he remembers fondly. “I know not everyone will.” Kevin won’t be drawn on the subject of favourite drivers, either. “Look. Driving is different now. No disrespect to current drivers, but you had to think a lot more on a three furlong track than they do now on the bigger tracks. You had to drive with brains. And I really believe that good horses make good drivers. The horses are very good these days. Today’s drivers – your Gavin Langs, Chris Alfords – they’re thinkers, and brains will beat brawn every time. The girls are just as good now too. You only have to look at Kerryn Manning.” A garrulous and popular character, Kevin has trained horses for the likes of legendary Richmond player Jack Dyer, and also spent his fair share of time hosting sportsman’s nights, holding his own with the likes of Ron Barassi. On one such night, they had flown in a light aircraft to their destination. During their show, Kevin noticed their pilot, sitting in the front row, laughing appreciatively. There was one problem. He had a beer in his hand, and was consuming it with some enthusiasm. As the night wore on, the pilot became more and more inebriated, and Kevin became more and more disturbed, knowing that this was the same pilot who was to fly them home when they finished. Unbeknownst to Kevin, however, the flight had been cancelled and the pilot hadn’t told anyone, instead deciding to take full advantage of his client’s hospitality. For now, Kevin is happy living in Inglewood with partner Barbara. Son Grant and daughter Carla aren’t far away (both work at the Bendigo Harness track, and Carla has held both a trainer and driver’s licence). His granddaughter, Barclay Sands, was born on the same day of the demise of their star performer, Lea Sands, and may give the biggest hint yet just how important the world of harness racing is to Kevin ‘Boofa’ Innes. Blue with white yolkKevin Innes embroidered on left side chestkevin innes, k innes, bendigo harness racing club, bhrc, bendigo, horses, race colours, trotting, pacing, harness racing

Hubert Warner’s story shows insight to the families that emigrated from Europe for the gold rush. It illustrates the nuances of life in the district. This history speaks of land cultivation and the innovation of industry in the region, in particular sheep and cattle farming and slaughter. Warner speaks of the highs and lows of the practice of breeding cattle, the awards he won, but also the hardships that come with working on the land such as having to face natural disaster. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titles: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Hubert Warner's account of life in Beechworth is uniquely illustrative as it captures many aspects of the community. It explains the motivation for European migrants for choosing to settle in the area and how they were able to both become a part of and create a presence in their local community. This oral history also exemplifies the process of developing industry through the twentieth century, how it was done, the struggles it faces, and the triumphs that came with this. Warner's history is specific to the cattle industry and shows great nuance in the day-to-day operation of such a business over time. This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side. Herbert Warnerlisten to what they say, listen to what they say: voices of twentieth century beechworth, 1800s beechworth, 20th century beechworth, beechworth, farming and agriculture, cattle, gold, gold rush, farm, farming

This is the last of the series of books chronicling the achievements of the ships and personnel of the Royal Australian Navy in WWII. For the whole of the war the Navy was on the job all over the place all of the time. From the first to the last days of WWII RAN was represented, by ships and personnel in the battle for supremacy in t he battle for supremacy at sea. They took part in every rear-guard action in the days when the tide was against. They participated in the invasions of enemy territory that came with the resurgence of Allied strength right through to the final assaults on the Japanese home islands The last book of the series of which HMAS MK IV, servIng personnel of the RAN have recorded the achievements of their service in WWII HMAS Mk IV - The RAN's Fourth Book. Green front, back and spine hardcover.. Inside front and back cover is a green sepia aerials view illustration of Japanese islands with boats and aeroplane. Illustrations, poems, stories, photographs, prints, cartoons.Dedicated to all those past and present, who 'Fear God, Honour the Kingwwii, royal australian navy, triumph of sea power, amphibian, flying seaman, invasion of borneo, whaler's crew, converted ocean liners, wrans go to sea, balikpapan, frigates, new guinea, indonesia, south east oceania, bougainville, surrender of dutch borneo, world war 2

This work was reproduced from the original artefact, and remains as true to the original work as possible.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. Hardback with brown fabric which is torn and stained. Embossed border and small flower design in black ink. Title embossed in gold. Fraying around the edges and spine. 168 pages.fictionreligion, moral tale, social order

Silvered brass, shaped round with a loop.This medal is inscribed with Liberty and Justice1919, school, peace, medallion, ww1, world war one, wwi