Butter factory at Kiewa with creameries at Kergunyah and Gundowring met on 14th December 1892 and built it in 1893. In 1928 a new butter factory was built and a milk products factory was created in 1952The Kiewa Butter Factory employed a lot of people and supported the farmers in the Kiewa Valley.Black and white photo of Kiewa Butter Factory 1892. The photo was taken in 1932. The photo is glued to thick grey cardboard creating a frame. The photo is of a white building with a tall tower behind it. This photo is published on pages 45 and 89 of 'A History of the Kiewa Valley' by Esther Temple and David LloydWritten in biro bottom front of cardboard '1932'kiewa butter factory, creamery, dairy industry

Item in the collection of Arthur Thomas MANLY No 431130 RAAF. Refer Cat No 3710 for his service details.Australian civilian aircraft magazine. Front cover has a colour photo of a V Bomber (UK) taking off. Printed at top in yellow: AIRCRAFT Printed at bottom on L in white: TWO SHILLINGS Printed at bottom on R in white: JULY 1959magazine, aircraft

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. 63 and 117 Murray Street houses are extant (Google maps image capture Dec 2018).Victorian Heritage Database - HO131 63 Murray Street Caulfield https://vhd.heritagecouncil.vic.gov.au/places/35569 (as of 14/08/2021) "Marston" at no. 63 Murray Street, Caulfield South, was built by J.E. Guest, a contractor resident in nearby Downshire Road, in 1889-90, presumably as a speculative venture together with the extant house at adjoining No.61. It is aesthetically significant. It is aesthetically significant (Criterion E) as an exceptionally richly ornamented medium sized Boom period villa in Caulfield South, being unusual in this respect in its locale and comparing with nearby "Sprouston" at 19 Blanche Street (1887). Important contributory elements include the polychrome brickwork, frieze and verandah including the half timbered gablet which would have been stylistically innovative in its day.Page 139 of Photograph Album with two landscape photographs of two different houses in Murray Street. Handwritten: 63 MURRAY STREET [under top photo] / 117 MURRAY STREET [under bottom photo] / 139 [bottom left]trevor hart, garden, verandah, murray street, elsternwick, victorian style, houses, marston, house names, j e guest, verandahs, polychrome bricks, cast iron work, chimneys

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.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, 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.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, 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) 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

Charity organisation, Ladies' Harbour Lights Guild, was formed within The Missions to Seamen Institute to provide a home away from home, for visiting seamen. This paper illustrates the rules for branch secretaries as well as the membership types at the bottom. This paper holds historical significance at a local level because it illustrates the Ladies' Harbour Lights' Guild organization and membership types that were essential to for the success of the charity. The Ladies' Harbour Lights Guild grew to become a significant charity in Melbourne raising large amounts of money which helped to establish the current MTS building, supporting seafarers as well as attending social events.Cream colour document with typed text in blue ink about the rules for Branch secretaries and written inscriptionWritten in black ink 'Blue card' next to '1. Honorary Members' and 'White card' next to '2. Working Members' and 'Red card' next to '3. School Members'. missions to seamen institute, williamstown, port melbourne, ladies' harbour lights guild, lhlg, branches, rules, secretaries, seamen's mission, mission to seafarers, flinders street, australian wharf, honorary members, working members, school members, knights of the guild

This is a photograph showing the P.S. Alexander Arbuthnot about to be removed from the water to be transported to Shepparton for restoration. The Alexander Arbuthnot was pulled off the bottom of the river at Yielma in July 1972 and taken to Shepparton via Barmah in January 1973.This photograph is significant as it shows the P.S Alexander Arbuthnot about to come out of the river, to be fully restored.A black and white photograph 13 cms X 9 cms of the P.S Alexander Arbuthnot under the Barmah Bridge, prior to being taken out of the river and taken to Shepparton.Written on the back of the photo are the following words. "Alexander Arbuthnot being moved into position under the Barmah Bridge prior to removal from the water and transported to Shepparton for restoration 1971 - 1973. The paddle screamer was previously sunk near the Victorian bank. At Newmans property at Yielma." paddle steamers, ralton, greg, shepparton, p.s alexander arbuthnot, international village shepparton, yielma

WW1 Female Relatives Badge issued to the closest female relative. Small clasps hung at the bottom to denote how many husbands, brothers etc were serving, missing on this one. Part of the HEWSTON collection WW1 & WW2.Badge, grey metal, blue background with grey print on front of badge with clasp / pin fastener."Issued by Department of Defence, To Women of Australia, For duty done".numismatics - medals, military history, badges, women

The church and hall are located on the Dana Street hill. The shade and hot houses of Lang's Nursery can be seen in the bottom right of the picture. This sketch comes from from the Premier Album of Ballarat Views circa 1870-1880.church, hall, building, wesley church, dana street, lang's nursery, commerical, premier album of ballarat views

A golden, red and white clock in the shape of a circle. Raised dots indicate time blocks. There is a golden stage attached to the clock. On the face of the clock, the make of clock is unclear, at the bottom of the face of the clock are the words 'alarm 8 days'.Metal clock with Braille and printed numbersassistive devices, swiss

local manufacture either a seemstress or a mother. Time Circa 1920s to 1940s. Distance from towns with haberdasheries would force local manufacture of garments by highly skilled women.Historical period Circa 1920s to 1940s was before easy access to branded manufactured clothes. Majority of basic clothing was hand made either family or skilled friends and neighbours This is Garment is cross referenced to KVHS 0249 and KVHS 0248 and details the growth of a young childGarment has sleeveless top attached to pantaloons at waist and open crotch and going down inner leg seam to 8cm from bottom. Bottom section of each leg adorned with crocheted lace and two pin tucks around bottom of the legs. Top back of garment has three "Mother of Pearl" buttons and narrow 8 mm wide shoulder cross reference to KVHS 0249 and KVHS 0240 straps. Machine stitched cream in colourvest, underwear, child's clothing

Item relates to Cyril John JOHNSON VX36298 died as a POW. Refer Reg No 3144 for his service history.Shire of Marong Sympathy Certificate to next of kin, WWII. Dated 1.12.1945. Off white paper with black print in black plastic frame. Shire of Marong red seal bottom L corner. Oval shaped black/white photo of Cyril John JOHNSON at centre bottom.certificates, sacrifice

Views of Bendigo. No.3 of a series of sixteen photographs of Bendigo. Nos. 6 and 7 in the series are missing. Black and white photograph, undated, of the Conservatory Gardens, Bendigo. This name is written in the bottom left corner. A view of the Law Courts is shown in the photograph. No. 3 is written in the bottom right corner.bendigo, parks and gardens, conservatory gardens, conservatory gardens, bendigo. bendigo historic buildings. bendigo law courts.

Notice at cemetery 1889Wooden notice board, painted, black border, cream background, with raised black writing, stating rules of conduct of visitors to cemetery funerals. Signed by F. Hickox, Secretary, 1889. Metal angle brackets, painted black, situated top and bottom, year painted on bottom bracket."Notice is hereby given that visitors at funerals are not allowed to crowd around graves to the exclusion of mourners and friends of the deceased. This regulation will be strickly enforced by the Sexton. By Order of the trustees, Fred P. Hickox, Secretary, Janry 15th 1889"clunes cemetery, noticeboard

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 1995 the Men's Winner was Andre Jungen from Switzerland in a time of 2:22:57. The winner of the Women's event was Maria Theurl of Austria in a time of 2:56:08.This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A large coloured poster a main image of skiers ascending a slope. A smaller inset image features a large group of skiers. A title is written at the bottom of the image in graduated orange letters. The logos of Worldloppet, Southern Hydro, Holden, QANTAS and the Birkebeiner Nordic Ski Club are across the bottom.Beneath image: AUSTRALIA'S WORLDLOPPET SKI RACE/ 26TH AUGUST 1995, FALLS CREEK, VIC . 42 KM .21KM. 7KM. Phone: (057) 54 3103 Fax: (057) 54 4475 P.O. Box 400 Mt. Beauty 3699 Australia In Border around photos: Photographs: Glen Tempest - Open Spaces Photographykangaroo hoppet, worldloppet events, falls creek, mt. beauty

Operation Battle Group (West) was established in July 2006 and was based at Tallil Airbase in Dhi Qar Governorate. It consisted of units previously assigned to the third, and final, rotation of the Al Muthanna Task Group. It was withdrawn in June 2008.Overwatch Battle Group (West) was an Australian Army battle group that represented Australia's largest contribution to the Multinational force in Iraq. No Australian military personnel were killed in the course of the deployment, during which the Australian contingent helped train 33,000 Iraqi soldiers. Approximately 200 Australian personnel remained in Iraq on logistical and air surveillance duties after its withdrawal.Large brown timber frame with brown mount containing photograph of soldiers standing and In armoured vehicles in foreground of ancient brick fortress with soldiers across and leading to top of fortress. Gold coloured rising sun in bottom left corner and red coloured kangaroo in bottom right corner.Over watch Battle Group (West) 4 December. 2007 - June 2008 Photographer Corporal Rob Nyffeneggeroperation battle group (west) 4, iraq

BHS CollectionYellow banner. German Heritage Society at the top, at the centre a blu six petals flower (?) at the bottom Bendigo inc. Preserving our heritage, recording our past. All letters in black. Around the edges black and red lines. At the bottom red fringes. The banner is in a grey bag.

A cream coloured paper cover with black information on the front. Bottom left hand corner reads Army Headquartes, Canberra. ACT. Bottom right hand corner reads Directorate of Military Training December 1966. There are two metal staples down the left hand side of the booklet.army headquarters, training, information bulletin

Scythes were used with a long sweeping movement which made them much less tiring for labourers to use than reaping hooks or sickles though they still involved great physical labour and considerable skill to perfect. Both hands were in use and the operator did not have to bend his back to reach down to the crop. Scythes were not used as often on farms after the mechanisation of harvesting. They were still used for cutting awkward shaped small plots and for opening a path for the tractors. This item is an example of a tool used by the early settlers of the Orbost district. A curved wooden scythe handle with two nailed grips attached with metal rings. There is no blade. There is a metal hook at the bottom.scythe agricultural tool farming

This item is an example of a glass food container used by an early Australian food manufacturing industry.A wide necked clear glass jar. It is seamed and has a circle on the base. There are some manufacturing signs near the bottom.In a diagonal banner across the glass - JONATHON REEVE PTY LTDglass jar jonathon-reeve food pickles-condiments

This postcard was hand-embroidered in France and sent to Australia during World War I. A large piece of silk would be hand-embroidered by French women with the same pattern 20 times or so, then the large completed piece would be sent to a factory to be cut up and the individual pieces mounted on card. They had varying themes and patterns, greetings such as happy birthday or thinking of you, featuring butterflies, flowers and sometimes patriotic flags of allied countries involved in the war. They were marketed to troops to send home to female members of the family and girlfriends. It was estimated 10 million silk postcards were produced in Europe between 1915 and 1919. During World War 1 postcards were a welcome means of personal communication for many people. Most information came from newspapers or broadcasts.A small Christmas postcard of fabric with embroidery of flowers around the British flag and "Happy Christmas" sewn along the bottom."I am still going well & strong Love to all Maurie"ww1-correspondence ww1 postcard