‘A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Colour photograph of a group ascending stairs at Regent Theatre Albury. From left: Capt R. Morrison, Colonel J. Neale, Mrs. D. Morrison, major J. Gay, Mrs. C. brewer, Colonel C. Brewer.

A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Colour photograph of display in foyer of Theatre at special screening of " The Lighthorsemen " 11 September 1987.military, cinema, light horse, film, legacy

‘A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Colour photograph of CDolonel C. Brewer, Commander AWMA with Captain Robert Morrison arriving at the special screening of the " Lighthorsemen " at Albury. Lance - Guard Trooper Chris Ellison in backgroundmilitary, vmr, movie, lighthorsemen, theatre

‘A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Colour photograph of gathering in theatre foyer prior tto screening of " The Lighthorsemen ". Facing camera from left: Major J. Gay, Colonel J.A. Neale, Squadron Sergeant Major Clarke and Colonel C. Brewer.

‘A’ Squadron 8/13 Victorian mounted Rifles hosted a special screening of the movie “The Lighthorsemen” at the Regent Theatre Albury on 11 September 1987. The official party included the Area Commander Albury-Wodonga Military Area, Honorary Colonel 8/13 VMR and Officer Commanding ‘a’ Squadron 8/13 VMR. The VMR Heritage Troop mounted a Lance-Guard in the theatre foyer and the Albury City Band played prior to the screening. Proceeds from the function were donated to Legacy.Newspaper clipping from Border Mail of Wednesday 9 September 1987 regarding special screening of film " the lighthorsemen " hosted by 8/13 Victorian Mounted Rifles.

Mabel Pye was a printmaker and painter. She was born in Box Hill in 1894, probably at the family’s Loch Street property. She was the daughter of Alice Eleanor Noar and her husband William Edward Pye, who married in 1893. William was known as Ted and is recorded in electoral rolls as a legal clerk and later as a public servant. Mabel had a sister Hazel who was also an artist, but less well known. 12 Loch Street, Surrey Hills was known as ‘Mulberry Hill’ and the Pyes appear to be the first occupants – Alan Holt’s register of Surrey Hills properties has them there from c1900. The property was originally about an acre in size and was later divided into 4 house blocks. In 1923 they built a house for themselves on one of the blocks facing Benwerrin Street and called it ‘Tanglewood’. The Loch Street house abutted the Surrey Hills Reservoir and was diagonally linked to the land in Benwerrin Street. In 2019 both the houses still stand. The family were involved in amateur theatre and at times the studio doubled as a rehearsal space for the Benwerrin Players, a group which operated through the late 1920s and early 1930s being comprised of friends and neighbours from Benwerrin Street and Windsor Crescent. Some of their performances were at the Surrey Hall in Union Road. Most of Mabel’s known work dates from the 1930s. She had studied under Bernard Hall at the National Gallery School. Mabel was a member of both the Victorian Artists Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptors from 1920-1950. Her work is represented in the Australian National Collection and in state galleries. The NGV has one of her works, the Gallery of NSW has 9 works, a large body of works and personal material is held by the Ian Potter Collection and there is one piece in the City of Whitehorse Collection. This ink sketch of the White Horse Hotel is signed MP and dated 1933, the year the building was demolished. A black and white studio photograph of a young lady standing beside a pedestal and wearing a light coloured dress with 3/4 length sleeves, dark stockings and lace up shoes. A corsage of dark flowers adorns the bodice. loch street, surrey hills, artists, whitehorse hotel, box hill, miss mabel pye, city of whitehorse collection, william edward pye, miss alice elanor noar, mrs alice eleanor pye, frank stamford

Written proceedings and video recording of a seminar held at the Geelong Hospital on 20 March 1991. The topic of the seminar, ethics and legal problems in resuscitation, resulted in a heated debate among attendees. Several doctors took issue with a presentation by Megan-Jane Johnstone, a nurse, ethicist and academic, in regards to documenting decision-making, patients' rights and guidelines around resuscitation. Other speakers included Paul Mestitz (Physician at Geelong Hospital) and Brian Bourke (Barrister). The seminar took place from 7.45-9:45pm in the John Lindell Lecture Theatre at the Geelong Hospital. The content was donated to the Australian Nursing and Midwifery Federation (Victorian Branch) on a USB by Megan-Jane Johnstone, with the aim of raising awareness of how members of the medical profession debate and respond to ethical and legal concerns in healthcare. The original was given to the donor on VHS in 1991.115 minute video file (.mp4 multimedia format), transferred from VHS tape. In colour, with sound. Video shows proceedings of 'Ethics and Legal Problems in Resuscitation' seminar at The Geelong Hospital on Wednesday 20 March 1991. An image file shows a scan of the proceedings of the seminar, with handwritten notes indicating the name of those asking questions during discussion.ethics, nursing, legal, law, bioethics, medical ethics, patients rights, decision making

Holdenson and Nielson Fresh Food Pty Ltd was founded in 1903 by Poul Jorgenson Holdenson and Andrew Nielson, after acquiring the Fresh Food and Storage Co, which had plants throughout Australia, including Albury. The plant was moved to Wodonga that year. Cream was collected from all areas of North East Victoria and the Riverina, with contractors carting it to the railway stations for rail travel to Wodonga. The Butter Factory was built on the Lincoln Causeway in 1926, and the Cheese Factory in 1942 as a wartime emergency project. At the same time, a pasteurising plant was installed in the complex, and so whole milk was collected from dairy farmers, rather than just cream. The company was bought out by the North Eastern Dairy Co-operative in 1962. It became a retail milk depot also involved in ice-making and cold storage. In 1985, Goulburn Murray bought the complex and as the site was surplus to requirements, it was sold to Wodonga Council. The buildings were adapted for other uses. The Butter Factory was modified and extended and for some time was occupied by the Albury- Wodonga Visitor Centre. The Creator's Gallery was established in the engine room, and the loading area and ice-making works were extended and modified for use as the HotHouse Theatre. The Cheese Factory was adapted for use as a theatre and jazz venue, and housed the HotHouse office. The various outbuildings, such as garages and storage areas, were adapted for use as shops and craft outlets.This collection is significant because it documents an important industry in Wodonga.A collection of images and advertisements promoting Holdenson and Nielsen of Wodongaholdenson & nielson, wodonga dairies, victorian dairy industry

A copy of an Anzac Day Address at the Anzac Commemoration Ceremony for Students, the year is unknown but it is presumably the address given by the President of Legacy. It seems to be one of the earlier ceremonies. It was stored with documents about the building of the Shrine and another speech from the 1939 service. The presenter had probably served in World War 1 so was very close to the events he was talking about. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The ceremony is usually attended by representatives from schools throughout the state and the Governor of Victoria. The text says: 'We have gathered here too commemorate the historic landing on the Gallipoli Peninsula of the Australian and New Zealand troops on the 25th of April 1915 - the day that has come to be universally known as Anzac Day. . . I expect most of you know how the word 'Anzac' came into being. How General Birdwood and his officers took the first letters of the words Australian and New Zealand Army Corps and formed them into the code word "Anzac". They did not expect it would become the famous name by which the men fighting under them would become known. But it did, and Anzac Day has become Australia's greatest national day because on that day Australia's manhood was put to its first great test. You see up to that that time, the world knew very little about us. We had not, thank God, ever had to fight for the existence of our Nationhood and everything we hold most dear. Everyone wondered how our men would compare with the men of other nations when a real crises arose. . . . You have been told there thrilling story of Anzac Day. Of the landing at dawn on that terrible coast: the hand to hand fighting that went on continuously all that day and through the days and nights that followed. How the Anzacs - outnumbered, exhausted and tortured by thirst held on, and how during the terrible nine months that ensued all the efforts of a brave enemy to dislodge them failed. Such was their gallantry that a British Officer described the Australian soldier as "The bravest thing God ever made". What a wonderful tribute that was; and how proud we should be of the men who earned it. . . . These men carried on all the traditions of the Anzacs and made a wonderful name for Australia and New Zealand in France, in Belgium, in Egypt and Palestine and in all the theatres of war in which they served. And this great Shrine was build by the people of Victoria, not in any boastful sense of Victory, not in any attempt to glorify war - which is a horrible, dreadful thing, but in memory of those thousands of Victorian sailors and soldiers who so loved their country that they laid down their lives in her service. . . All of them were brave, but do not think that a soldier who is brave need alway be a great warrior. I hope when you have passed through the Shrine you will go and see a little bronze statue near the road yonder. A statue of a man leading a donkey which carries a wounded comrade. You will see the soldier leading the donkey carries no weapons. Yet he was a hero indeed, for he saved the lives of scores of his comrades at Anzac by carrying wounded from the battle to safety and the hospital. And in the end he too gave his life for his friends. . . Let us all try to help each other in peace as they did in war. Instead of divisions, let us have unity. If we think of no one but ourselves we shall not achieve anything nor shall we deserve to. Let those of you who are strong help those who are not so strong - all through life - like John Simpson, the man with the donkey did. Be proud of your country and do nothing to dishonour it. If you get an order from one in authority, obey it, even if you do not understand it.A good solider always obeys his orders. If he did not, he may bring disaster and cause harm to his fellow soldiers. Remember that those thousands of men died so that we could still live here in freedom. A country is judged by its citizens. Let us be worthy of those great citizens who have left us the legacy of their fame and devotion to duty. And when you file through the Shrine and look down on the Rock of Remembrance, read the inscription on it, "Greater Love Hath No Man", remember those wonderful words written in the greatest book in the world nearly two thousand years ago, "Greater love hath no man than this, that a man lay down his life for his friend."A record of a ceremony at the Shrine for school students. The text of the speech is significant in that it was written by a man who had served in World War 1 and knew first hand what it meant to be part of the first Anzacs. White quarto paper x 4 pages with black type of a speech at one of the Annual Anzac Commemoration Service for Students.Handwritten in blue pen 'Shrine, Children's Service'anzac commemoration for students, wreath laying ceremony, speech

This program was given to attendees at the Bendigo Symphony Orchestra and Gisborne Singers performance on 24th November 2024 In a thrilling conclusion to their 2024 concert season, Bendigo Symphony Orchestra present Mahler’s Symphony No. 2 ‘The Resurrection’ – a transcendent journey from darkness to light. Witness the symphony on a colossal scale: ten trumpets, ten horns, two sets of timpani and an organ are just the beginning of Mahler’s mighty orchestration. And after the success of 2022’s inaugural Symphonia Choralis festival, BSO are once again partnering with the Gisbourne Singers to bring this glorious work to life. “Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living – indeed, even if we are only to go on dying!” Written in a letter to a friend, these are the questions Mahler hoped to answer with this symphony. While epitomising the emotion and drama of the Romantic era, the work also anticipates the radical advances of the 20th century. Beginning with a steely funeral march, Mahler spins German folk-song and klezmer-inspired flourishes through four stunning movements, culminating in a sublime hymn of resurrection. This symphony explores life and death on a cosmic scale, and showcases Mahler’s rich technicolour writing and flair for dramatic narrative. “The whole thing sounds as though it came to us from some other world. I think there is no one who can resist it. One is battered to the ground and then raised on angel’s wings to the highest heights.” Be swept away by an eternal masterpiece.MAHLER SYMPHONY NO. 2 RESURRECTION Sunday 24th November 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Chief Conductor Nicole Marshall Guest Conductor Merlyn Quaife AM Soprano Liane Keegan Contralto Gustav MAHLER Symphony No. 2 in C minor, ‘Resurrection’ I. Totenfeier: Allegro maestoso (25’) II. Andante moderato (12’) III. In ruhig fließender Bewegung (12’) IV. Urlicht (6’) V. Finale: Im Tempo des Scherzos (37’)bendigo symphony orchestra, luke severn, regional victorian orchestra, performance, gisborne singers

3 copies of black and white photographs, not originals. Original photograph in A. E. Bennett's book, "Prize Essays." 3 people working in the garden in the foreground. 2 men are planting seedlings, 1 man is removing a box of seedlings from a wooden wheelbarrow. T.H. Kneen suggested early 1900's as ponds not yet constructed.On reverse, "Photograph by Information Branch Victorian Department of Agriculture Ref. No.1981(889-3). Earlier copy, handwritten on reverse, "Exhibition Building later to become the Lecture Theatre."students working outside, pavilion, publicity, a e bennett

Contains information about the formation and growth of the National Theatre Movement and statistics about the construction of the new National Theatre in the building formerly known as the Victory Theatre, on the corner of Carlisle and Barkly Streets, St Kilda. A dinner to launch the final stage of construction was held on 4 December 1973. Completion was planned for 15 June 1974 and the official opening date was to be 24 August 1974. The dinner was hel at the Stardust, Marine Parade, St Kilda and was hosted by the Victorian Ministry for the Arts.Yellow coloured card printed in black on one side and brown on the othernational theatre, stardust

Victorian Symphony Orchestra - Orchestral Concert - Conductor Kurt Woess, Soloist: Glenda Raymond (soprano). Town Hall, Maryborough, Tuesday, 7th April 1959 at 8 pm. Capital Theatre, Bendigo Wednesday, 8th April 1959, at 8 pm, St Patrick's Hall, Wangaratta. Thursday, 9th April 1959 at 8 pm. Star Theatre, Shepparton, Friday, 10th April 1959, at 8 pm. Concerts arranged by the Australian Broadcasting Commission in conjunction with the Government of Victoria. Programme One Shilling.event, entertainment, music, victorian symphony orchestra, kurt woess, glenda raymond, the australian broadcasting commission, government of victoria

Victorian Symphony Orchestra: 1) Conductor: Kurt Woess, Soloist: Marjorie Conley, Soprano Town Hall, Bendigo, Wednesday 18th April, 8 p. m. Plaza Theatre, Geelong, Thursday, 19th April 8 pm. 2) Conductor: Alceo Galliera, Soloist: Morris Williams, Baritone, Royal Princess Theatre, Bendigo, 20th September 1951. Star Theatre, Shepparton, Friday, 21st September 1951 at 8 pm. Direction: Australian Broadcasting Commission. Programme 1/-.event, entertainment, music, victorian symphony orchestra x 2, kurt woes, marjoria conley, alceo galliera, morris williams, australian broadcasting commission

Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street

This program was given to attendees at the Bendigo Symphony Orchestra performance on 8 September 2024. Bravo Bendigo presents a spectacular showcase of local talent. This concert features two exceptional compositions by musicians from Bendigo Symphony Orchestra’s very own ranks, and Kaid Normington as soloist in Arutiunian’s brilliant Trumpet Concerto. BSO is joined by renowned concert organist Thomas Heywood for Saint-Saens’ mighty Organ Symphony. BRAVO BENDIGO Sunday 8 September, 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Conductor Kaid Normington trumpet Thomas Heywood organ Claude DEBUSSY Les Couleurs Debussique arr John Matthews Alexander ARUTIUNIAN Trumpet Concerto in A flat major Cally BARTLETT Kati Thanda – Lake Eyre INTERVAL Camille SAINT-SAËNS Symphony No 3, in C minor, Op. 78bendigo symphony orchestra, luke severn, regional victorian orchestra, performance

This program was given to attendees at the Bendigo Symphony Orchestra performance on 24 March 2024. Bendigo Symphony Orchestra welcome their 2024 concert season with Sculthorpe’s shimmering Sun Music III alongside monuments of the classical repertoire. ARIA award-winning pianist Tamara-Anna Cislowska joins BSO for Tchaikovsky’s majestic Piano Concerto No. 1, and the orchestra take a stormy journey through Beethoven’s iconic Symphony No. 5. SUN MUSIC Sunday 24 Marchr, 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Conductor Tamara-Anna Cislowska - Piano Peter SCULTHORPE - Sun Music III Ludwig van Beethoven - Symphony No 5, Op. 67 Pyotr Ilyich Tchikovsky - Piano Concerto No 1, Op.23 in B-flat minorbendigo symphony orchestra, luke severn, regional victorian orchestra, performance

This program was given to attendees at the Bendigo Symphony Orchestra performance on 2 June 2024. Strauss’ Radetzky March kicks off a rousing program, which follows an extraordinary exploration through the relationship between music and power. Shostakovich’s gripping Symphony No. 5 is a powerful insight into Soviet Russia while Elyane Laussade brings her dazzling touch to Beethoven’s beloved fifth piano concerto.EMPEROR Sunday 2 June, 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Conductor Elyane Laussade Piano Johann STRAUSS I Ludwig van BEETHOVEN Radetzky March, Op. 228 Conducted by Will Slow Piano Concerto No. 5, Op. 73 in E-flat major, ‘Emperor’ INTERVAL Dmitri SHOSTAKOVICH Symphony No 5, in D minor, Op. 47bendigo symphony orchestra, luke severn, regional victorian orchestra, performance

Herbert A Leighton was an actor and Elocution teacher, known widely in the Eastern states of Australia where he performed with his wife Tracy Hamilton. However all was not as it seemed. In 1903 he was arrested in Perth after suspicions were raised when he purchased expensive jewellery and clothes for his wife. Subsequently six thousand pounds in banknotes was found under his bed. Another fellow from his theatre group was also arrested and charged with bank robbery. Leighton was charged with receiving money knowing it was stolen. Investigations by the Perth police showed that Leighton was really Norman Campbell who had been born in Gippsland. He had worked as a clerk in the Victorian Savings Bank in Melbourne and then in the same role in the Sydney Savings Bank. During this time he had amassed large sums of money by forgery, a crime he spent seven years in prison for. He then emerged as the newly minted H. A. Leighton, actor and elocution teacher in Bendigo.Large format scrapbook collated by H.A. Leighton. Contains photographs, flyers, ribbons, banners, programs, invitations, newspaper clippings, posters, promotional photos of performers between 1901 and 1904. The material includes items from theatrical performances and programs from Bendigo and other cities. Includes information about Bendigo performers including Alex J Hamilton. Includes information about performers who visited Bendigo. Many of the items overlap others. The scrapbook has a heavy brown cover with black tape binding on the spine and the corners with brown paper pages. Written on the front cover Musical & Dramatic Notes in red and black ink plus a drawing of a woman in a long dress seated on a bench. Paper items have been glued onto the pages with several loose items. Leighton CollectionH A Leighton. Fecit. 24.11.00. Bendigo. Written inside the front cover on a drawing of an artist's palette above a picture of Alex Hamilton.leighton, hamilton, amy castles, theatres, performers, music

Program: Victorian season, Bendigo, Geelong, Ballarat. The Australian Elizabethan Theatre Trust presents 'The Trust Players' in 'Fire on the Wind' a drama by J. Anthony Coburn, Bendigo, Royal Princess Theatre, Sept 10, 11,12. Geelong Plaza Theatre Sept 14, 15, 16. Ballarat Her Majesty's Sept. 17, 18, 19. Peerless Press Pty Ltd. Sydney, Australia.Peerless Press Pty. Ltd., Sydney, Australiaprogram, theatre, the trust players 1959 season, trust players, fire on the wind, a. coburn, elizabethan theatre trust, bendigo, ballarat, geelong

Black and white negative, of Victorian Railways trams 26 and 46 in the Sandringham Railway yard - 30-12-1940. Tram has two Robur Tea adverts. In the background is the Roxy theatre. Photo in the Wal Jack Victorian Railways Album which provides the date. See item 6766 for a similar photo. VRtrams, tramways, victorian railways, vr trams, sandringham, tram 26, tram 46

Black and white negative, of Victorian Railways trams 49 in Bay Road Sandringham, passing the junction to the Sandringham Tram depot. Note the white bumper bars. Photo c1946. (Possibly 12-3-1946 - see Reg Item 5773) In the background is the Roxy Theatre and the spire of the All Souls Anglican Church. (The church spire has since been rebuilt) Photo not in the Wal Jack Victorian Railways Album.trams, tramways, victorian railways, vr trams, bay road, sandringham, tram 49

Black and white negative, of Victorian Railways trams 48 turnout out of Bay Road Sandringham, after passing the junction to the Sandringham Tram depot. Note the white bumper bars. Photo c1946. (Possibly 12-3-1946 - see Reg Item 5773) In the background is the Roxy Theatre and the spire of the All Souls Anglican Church. (The church spire has since been rebuilt).Also in the background is the Salvation Army Hall, Barker Upholster and two buses. Photo not in the Wal Jack Victorian Railways Album.trams, tramways, victorian railways, vr trams, bay road, sandringham, buses, tram 48

Black and white negative, of Victorian Railways tram 26 in Bay Road near depot junction - extremely overload with hangers on, footboards used and a young cyclist hanging onto the rear of the tram. Wal's album print "VR Sandringham - Black Rock Tramways - No. 26 "Toastrack" in Bay Road near depot junction - Black Rock Bound (5.55pm) 12-3-46" along with Wal Jack stamp and T555 Note the white bumper bars. A uniformed tramway man? and conductor are observing. In the background is the Roxy Theatre and the spire of the All Souls Anglican Church. (The church spire has since been rebuilt).Also in the background is the Salvation Army Hall, Barker Upholster and two buses. Photo in the Wal Jack Victorian Railways Album.trams, tramways, victorian railways, vr trams, bay road, sandringham, tram 26

The Town Hall Cafe was opened by A.J. Lucas in 1894 in Swanston Street on the Capitol Theatre site. Lucas later opened the exclusive Paris Cafe on Collins Street (1904) and the famous Cafe Australia (1916) which was designed by Walter Burleigh Griffin. He became a highly successful businessman and was the founding president of the Ithacan Philanthropic Society. A.J. Lucas who was born in the village of Exoghi migrated to Australia from Ithaca in 1886.In 1920 Lucas formed a joint venture to redevelop the site of the Town Hall Cafe into Capitol House and Capitol Theatre. Lucas once again commissioned Walter Burley Griffin and wife Marion Mahony Griffin as architects for the project. The Chicago-Gothic-style theatre is considered their greatest interior design work. The Capitol was the first extravagant ‘picture palace’ to be built in Victoria. It originally seated over 2137 people. Renowned Australian architect Robyn Boyd described The Capitol as "The best cinema that was ever built or ever likely to be built.” Information about the refurbished Capitol http://thecapitol.tv/about/A sepia photograph of the exterior of a three storey Victorian style building including veranda. It was a cafe owned by A.J. Lucas. The words 'Lucas Town Hall Cafe' are formed in raised lettering across the top storey of the building. Two cars are parked in front of the building. town hall cafe, cafes, a.j. lucas, capitol theatre

"The Progressive Woman" covers all types of topics - from baby news, the world of art and theatre, the love of books, better housekeeping, recipes, knitting patterns etc.the victorian housewives association, world war ii