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Kew Historical Society Inc
Work on paper - Sepia Wash & Ink, G B Richardson, Creek and Old Watering Stage, on the Yarra, East Collingwood, 1854, 1854
Blind Creek was located between the Abbotsford Convent and what is now the Collins Bridge in Studley Park. In an 1858 map of East Collingwood by Clement Hodgkinson, in the State Library of Victoria, one can see how the creek was originally a significant landmark in Collingwood; remaining vacant land until a barrel drain enclosed it. The area was later filled in, surveyed and developed. The position where Blind Creek entered the Yarra was in the immediate vicinity of Hodgson’s Punt, which had linked Kew to the other side of the Yarra from 1839. The Punt was purchased by the Colonial Government in 1852 and was in use until the opening of the Studley Park Road (Johnston Street) Bridge in 1858 made its continued use redundantThe point of view selected by the artist for the watercolour is from the banks of Blind Creek in East Collingwood, looking across the Yarra to the Kew side of the river.Inscribed verso 'Creek and Old Watering stage, on the Yarra East Collingwood 1854 / Trees, stage, &c have long since disappeared / [Artist Signature] / FT 110 / Creek itself now being filled in 1903.gb richardson, blind creek - abbotsford, yarra river - abbotsford (vic) - kew (vic), colonial artists, australian art - 19th century, george bouchier richardson -
Vision Australia
Image, Low Vision Clinic assistance, 1989
Plaques recognising the funds donated by AFB supporters as part of the Vision Victoria Appeal, that helped build the Vision Resource Centre at Kooyong 1987-1989. The need for services for people with low vision was recognised by the AFB, who undertook to provide a range of services including diagnosis of low vision, advisors on how people with low vision could best utilise their existing sight, and objects designed to assist in everyday living. Initially operating out of a flat facing Glenferrie Road, which the Association had purchased, the growing demand demonstrated that a larger dedicated area was required. Thus began the project to develop a Low Vision Clinic on the land previously occupied by flats eventually purchased by the Association. 2 digital images of wooden board with white etched writingIn recognition of the assistance given the to the Low Vision Clinic by the many generous friends of the Association for the Blind The Association for the Blind acknowledges with appreciation the contribution made to the Low Vision Clinic by the following major donors: The Victorian Government Springfield Auxiliary Kooyong Fair Committee Mr Claude Kingston O.B.E. Mr A.T. Marriott Mr W. P. Fleming Mr A.J. Jennings-Smith H. and L. Hecht Trust Collier Trust William Buckland Foundationassociation for the blind, h & l hecht trust, william buckland trust -
Melbourne Legacy
Letter, We present our report on 'Reciprocity in Business' (H12)
A letter to the President of Melbourne Legacy from a representative of a sub-committee. The pencil mark on top of first page could imply it came from Legatee Stan Savige. Date is not known, the first section refers to a resolution of the Board of Management in 1930. That resolution was 'That members of the Club make every effort to influence trade towards Returned Soldiers in business, particularly fellow members, and accept every opportunity at this juncture to carry this into effect.' The rest of the report is a discussion on the impact of this resolution and how it can be made effective in the working of the Legacy spirit. It is possible the report is incomplete as it ends abruptly on page 5. The notation H12 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A document that shows a resolution of the Board of Management in 1930 and it's impact and application being examined by a sub-committee. White foolscap letter with black type x 5 pages reporting to the President on a sub-committee's findingsHandwritten H12 in red pen. Handwritten in top right corner 'SG Savige Pty Ltd, Queen St' in pencil.history, goals, objectives -
Melbourne Legacy
Document - Press Release 1975, Melbourne Legacy, It seemed like a miracle - just like having an invisible Mother and Father, 1975
A press release from Melbourne Legacy in 1975 which relates a story of how Legacy works. The information was intended to be used by press and magazines etc. The title 'With Legacy's Help. It seemed like a miracle - just like having an invisible Mother and Father' and is about a young girl 'Betty' whose parents died leaving her in charge of three younger siblings. It dramatically changed her career prospects and struggled to care for them on her own. Since her father was a returned serviceman Betty contacted Legacy, and from then on it seemed like an invisible mother and father. Legacy helped with the financial burden and arranged medical and dental treatment for the children, brought them clothes and provided holidays and birthday presents.A record of how Legacy promoted their work in the 1970s.Green foolscap page x2 with black type of a press release in 1975.Title 'It seemed like a miracle - just like having an invisible Mother and Father'press release, case studies, orphans -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) IX, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) VII, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation -
Wyndham Art Gallery (Wyndham City Council)
Painting, Tony Albert, Interior Composition (with Appropriated Aboriginal Design Vase) X, 2022
Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation -
Wooragee Landcare Group
Photograph, 5 Sepember 2004
This photograph was taken at Riverview Farm, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Julius Holt, Graeme Missen, Peter and Lesley Finedon, Sue Brunskill, Jacky Luisi, Bonnie Payne, Bob and Christine Stewart, Oliver Payne, and Gerri Boland. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management.Reverse: WAN NA E0NA2N2. NN1- 3 4556 / [PRINTED] (No. 9) / 188wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, riverview farm, animals, pests -
Merri-bek City Council
Lithograph, John Wolseley, After the Fire - Leaf Surge, 2003
British born artist John Wolseley relocated to Australia in 1976, where he travelled extensively through the outback mainly recording the natural history of remote north Australia in large, minutely detailed paintings. Since 2009, he has travelled to Darwin annually to continue his exploration of the Top End, visiting Arnhem Land and Daly River to work with Indigenous artists to research and capture the detail and essence of particular landscapes. His works reflect how landscape can be thought of as fields of energy in which plant forms move or dance with rhythmic life. After The Fire - Leaf Surge represents the vibrant regrowth of new foliage emerging from a landscape recently ravaged by fire. -
Bendigo Historical Society Inc.
Document - LYDIA CHANCELLOR COLLECTION; ANZAC MEMORIAL BAND PROGRAMME
A white programme with blue print. On the front are the words ' Do you want a Drawing Book? 'The Allies' Children's Drawing Book is issued Free by 'Nestles' in return for 100 wrappers of Nestles & Cailler's Chocolates. ANZAC MEMORIAL BAND (under the auspices of the R.S.A. 0f N.S.W.) 30 Performers : 30 ( All returned wounded men). TOWN HALL, MELBOURNE January 31st, - February 1st., and on Tour throughout Victoria. J. Edison Ikin. Representative. 'The Allies' Children's Drawing Book. Send your wrappers to NESTLE'S 588 Bourke Street, Melbourne.' On the inside is the poem 'How Anzac was Named,' an advertisement for Bellmaine Bros. printers Melbourne and the programme itself. On the back are the words for ' The Toast! For ANZAC Day by C.H. Souter. C. 1940s -50s.program, music, anzac day, lydia chancellor, collection, event, music, entertainment, concert, australian army, anzac memorial band, bands -
Bendigo Historical Society Inc.
Newspaper - BENDIGO ADVERTISER ARTICLE 5.2.1988: STAR OF DAVID FROM THE OLD BENDIGO SYNAGOGUE
Faded Bendigo Advertiser newspaper article dated 5.2.1988 re: Star of David which was saved by Gordon Glover's father from a pile of rubbish from the wrecking of the old Bendigo Synagogue in 1927. The article says that Harry Fogel and Alan Buchanek were trying to research the history of how the Jews in the area maintained the Jewish lifestyle and came in contact with the Glover family. Gordon Glover knew more about the history of the Synagogue and the stories of Jews in Bendigo 'than any Jew we could find 'said Harry Fogel. The Cape of Good Hope Store was the first unofficial Synagogue run by a Mr Helbrun. The contact details for Harry Fogel was care of Polypac Converting, 21 William St., Balaclava, 3183.newspaper, bendigo advertiser, harry fogel and alan buchanek / gordon glover / cape of good hope store -first unofficial synagogue -run by a mr helbrun / polypac converting , 21 william st balaclava 3183 21 william st, balaclava vic 3183 (03) 9527 5081 -
Bendigo Historical Society Inc.
Document - ALBERT RICHARDSON COLLECTION: EARLY HISTORY OF THE BENDIGO GOLDFIELD
Typed foolscap two sided document with information about the early history of the Bendigo Goldfield. Topics include the first gold discovery, how gullies were worked, quartz reefing, gold cakes, hand dollies and Chilian mills. Some brief statistics of the Bendigo goldfield include the total gold yield of 17,370,561 ounces plus 5,000,000 oz sold outside Bendigo. The greatest depth reached by any mine in the State, 4,593 feet below surface, or 3,700 feet below sea-level, was attained by the Victoria Quartz Company. About 100 shafts exceed a depth of 1,000 feet, of which 40 are between 2,000 and 3,000 feet deep, fifteen are between 3,000 and 4,000 feet and two are over 4,000 feet.bendigo, mining, mines department -
Bendigo Historical Society Inc.
Document - MALONE COLLECTION: GREETING CARDS
Document. Greeting Cards. Single, light beige card with a picture of an older woman. She is wearing a peaked type of hat and has her finger up to her mouth. A printed border surrounds the picture. At the top is written in ink: 'This is how I spent my money at Luna Park'. Beneath the picture is printed in black with some words in bold type: Your Second Wife should conform to the general lines of this picture. I advise you to drop another coin in the same slot and secure a photo of your First Wife. There is some important personal advice on love and marriage for you in another section and do not fail to secure a photo of your first baby. Underneath is printed 7-G-5person, greeting cards, malone collection, malone collection, greetomg cards. -
Bendigo Historical Society Inc.
Magazine - AILEEN AND JOHN ELLISON COLLECTION: THE AUSTRALIAN WOMEN'S WEEKLY JULY 12 1961
The Australian women's weekly from July 12, 1961. Price 1 shilling, the magazine has 64 pages. On the cover a picture of Jackie Kennedy and the words: How Jackie Kennedy got to the White House, pages 24-28. Contents: Jacqueline Kennedy story - 2,000 pounds canned fruit recipe contest - the end of the beginning - Little boy lonely - The case of the duplicate daughter - The fifth candle - It seems to me - Australia nature - Worth reporting - Social - Letter box - Your bookshelf - Crosswords - Stars - Dress sense - Fashion frocks - Film - Television parade - TV colour - Cookery course - Cookery - At home - Home and family - Home plans, prize recipes - House that has everything - Gardening.books, magazines, women's magazine -
Victorian Aboriginal Corporation for Languages
Book, ?Marja-Liisa Olthuis et al, Revitalising Indigenous languages : how to recreate a lost generation, 2013
The book tells the story of the Indigenous Aanaar Saami language (around 350 speakers) and cultural revitalisation in Finland. It offers a new language revitalisation method that can be used with Indigenous and minority languages, especially in cases where the native language has been lost among people of a working age. The book gives practical examples as well as a theoretical frame of reference for how to plan, organise and implement an intensive language programme for adults who already have a professional training. It is the first time that a process of revitalisation of a very small language has been systematically described from the beginning; it is a small-scale success story. The book finishes with self-reflection and cautious recommendations for Indigenous peoples and minorities who want to revive or revitalise their languages.Maps, colour photographsnative language studies, bilingual education, casle project, saami, language revival -
Ballarat Tramway Museum
Document - Folder with papers, Warren Doubleday, Feb. 1995
Black based folder with clear front holding papers for the 25/2/1995 planning meeting of the BTM. Following papers enclosed within binder: Proposed programme Listing of background information within folder Copy of Tasmanian Transport Museum Society's Management Plan of 1994 Copy of Len Millar's notes of planning considerations Copy of BTPS Mission Statement and goals used in Museum Accreditation submission Draft revision of goals prepared in July 1994 Outline of worked to be done as part of: Museum Accreditation Rail Safety Accreditation Draft Incorporation documents - from a company to a incorporated association. Loose is a copy of how to get to the venue - sitting room at the Lodge at Sovereign Hill. Scans of two docs added 2/9/12trams, tramways, btps, meetings, planning -
Bendigo Historical Society Inc.
Document - IAN DYETT COLLECTION: AUCTION CATALOGUE - THE CITY OF GREATER BENDIGO
Bright yellow auction catalogue with black printing for a sale on 18th June, 1996 for the City of Greater Bendigo, AH Plant, Surveyor General & Others at Strathfieldsaye Depot, Strathfieldsaye. For sale were Earth moving equipment, tractors, 3 P/L equipment, caravans, various mowers, chippers,shredders, brush cutters, trailers, scrap, tools, Surveyors equipment, office furniture & computer equipment, drums of bitumen and R/C concrete drains. J. H. Curnow & Son P/L were the auctioneers. Map of how to get to auction site inside front cover. Loose pink Supplementary List, account Coliban Water listing backhoe/F.E. loaders, tractor, tipper crane and 4WD wagon listed.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - the city of greater bendigo, ah plant, surveyor general & others, darryl young, ian dyett, j h curnow & son p/l, coliban water, noel dyett, fred dyett -
Kew Historical Society Inc
Clothing - Cream Tussar Silk Wedding Dress, c.1912
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s -
Clayton RSL Sub Branch
Medal, Victory Medal
The Victory Medal was authorised in 1919 to commemorate the victory of the Allied Forces over the Central Powers. Each of the Allied nations issued a ‘Victory Medal’ to their own nationals. Each nation used the standard ribbon but used different designs on the medal to reflect national identity and custom. A number had the figure of Victory on the obverse. Australians were awarded the medal issued by Great Britain. The Victory Medal was awarded to prescribed classes of persons who entered a theatre of war on duty between 5 August 1914 and 11 November 1918. FRASER, Thomas 2186The medal is bronze with a winged figure of Victory on the obverse. The reverse has the words ‘THE GREAT WAR FOR CIVILISATION’, all surrounded by a laurel wreath. The ribbon has a ‘two rainbow’ design, with the violet from each rainbow on the outside edges moving through to a central red stripe where both rainbows meet. (it should be noted that the ribbons on the 2 medals of Gnr Fraser have been swapped over). A member mentioned in despatches (MID) for service during World War 1 wears a bronze spray of oak leaves on the Victory Medal ribbon. Only one emblem is worn no matter how many times a member may have been ‘mentioned'. When a ribbon alone is worn a slightly smaller insignia is worn as a ribbon emblemThe Great War for Civilisation 1914-1919 -
Melbourne Tram Museum
Document - Notice, Tramway Labor Party Group, "Tramway Union Elections - Thursday Nov. 20, 1952, Work and Vote for the Endorsed Candidates", Nov. 1952
Printed "How to Vote" or notice sheet titled "Tramway Union Elections - Thursday Nov. 20, 1952, Work and Vote for the Endorsed Candidates" giving a list of candidates for the various positions, with messages with photos from Dr. Evatt, Federal Labor Leader and John Cain, State Labor Party, appealing to Union Members to vote for men who supported Labor Principles and practices. Has supporting statements and photos for Vice President J. C. McDonald, Vice President Frank Cooney, President J. R. Brown and Treasurer Alec Watson. Has a statement of "What a State Labor Government Could Mean to You and Your Union". Made by the Tramway Labor Party Group, and printed by Industrial Print Carlton with their logo.hand written informationtrams, tramways, unions, alp, labor party, elections -
Melbourne Tram Museum
Pamphlet, Yarra Trams, "New Year's Eve 2013", 2013 and 2016
Pamphlets - set of 2 printed in full colour on paper folded to DL size. .1 - "New Year's Eve 2013" - 8 fold, 2 half foldout - with a map showing fire works sites, locations, tram alterations, and how public transport could be used in the city. .2 - "Tram service during Melbourne Summer Festivals" - 4 fold, - issued 1/2016, detailing timetable alternations and service changes for Feb. and March - includes events - St Kilda Festival, White Night, Glenferrie Road Festival, Sydney Road festival and Moomba Parade. Has a calendar and maps. Also lists other major events and network upgrade and tram improvement works. Issued by Yarra Trams and the PTV.trams, tramways, events, melbourne, moomba, glenferrie rd, sydney rd, st kilda -
Melbourne Tram Museum
Newsletter, Public Transport Workers Association, "Sparks - the Paper of the Public Transport Workers Association - No. 11 Dec. 1987", Dec. 1987
Newsletter, A5 centre stapled, 12 pages, December 1987, titled "Sparks - the Paper of the Public Transport Workers Association - No. 11 Dec. 1987" as a Special Strike Issue. Reports on strike by car cleaners at Dynon rail depot, replacement of train guards and tram conductors, guards on strike, how to survive while on strike, a "letter" (tongue in cheek) from the Premier to the Transport Minister, in the form of an exam, dispute with management at Dynon. Covers the proposal to remove over 800 jobs at the Tram and Bus Division, Connies, maintenance, revenue clerks, operational inspectors, tram drivers and bus drivers, Port Melbourne light rail conversion See also Reg item 1395 and 2963 for other similar documents.trams, tramways, unions, light rail, conductors, disputes, railways, preston workshops, the met, light rail -
Orbost & District Historical Society
magazines, Needlework Illustrated; Australian Home Journal, September 1949; May 1963
Needlework Illustrated is issue 196 and cost 1/-. it was published quarterly. Australian Home Journal is the May 1963 issue. Women’s magazines just after WWII played a “reflecting role,” including topics of readers’ interests as well as containing news items. Women’s employment rate had grown during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly home crafts. Articles as well as advertisements presented information on keeping the family healthy with guidelines for thrifty shopping and advice on how to look good through it all. Patterns and instructions were provided for women to create home articles and clothing. The main sources for kntting and needlework designs available to women were in journals, magazines and pattern books. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes. These are examples of women's magazines. They give practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests --------------------------------------------------------------------------------------------------------------------------------------------------------- Two magazines. 3097.1 contains patterns, instructions, advertisements and photographs. It has a coloured cover - a pink background, black print an drawings of a woman wearing a top embroidered with roses and examples of needlework. 3097.2 contains patterns, advertisements, correspondence, and stories. It has a coloured cover with a photograph of a woman wearing a knitted jumper and three sewing patterns.magazine- needlework-illustrated magazine-australian-home-journal -
Warrnambool and District Historical Society Inc.
Document - Ledger 1883-1892 repurposed
This ledger was used between 1883 and 1892 to record returns and activities on a farming property including numbers of sheep shorn, chaff cut, fencing contracted and people employed. One envelope within the ledger is addressed to Mrs J Edwards, Morven via Branxholme. The Edwards family, lived on the MORVEN property situated about 11 kilometres west of Branxholme in the Western District of Victoria. This property was sub divided in 1911 into 25 farms. The not fully used ledger has later been repurposed as a recipe book with a collection of newspaper cuttings (1924-1929) inserted and recipes handwritten on 16 pages at the rear. The pages also include some household hints including instructions on how "To prepare sheep skins for mats"This ledger is typical of farming records kept in the period 1883 to 1892. The repurposing of the ledger as a recipe book was a common practice. This ledger has cardboard patterned covers. The paper pages are bound with cotton. Some pages are handwritten in ink. There are loose newspaper cuttings within the ledger as well as two addressed envelopes and a small red recipe booklet.ledger, farming records, recipes, morven, edwards family morven, canvassing department of the australian dried fruits association -
Warrnambool and District Historical Society Inc.
Trophy, Walker & Hall Ltd Silversmiths, Pritchard cup, 1920s
This is a trophy given to a Warrnambool Football Association by Harry Pritchard. He was a Warrnambool businessman who had the Warrnambool Sports Depot store in Kepler Street in the 1920s. The trophy was for the winner of the Warrnambool Wards Football Association. This was a Junior Association promoted by the Warrnambool Football Club and it existed from 1924 to 1930. It was proposed that the four Council Wards, Hopkins, Victoria, Albert and Merri each had a football team but it is not clear if all had teams and how many teams from other areas took part in the competition. The Pritchard Cup records that the Hopkins Ward Football Team won the trophy in 1926 and that Allansford, a team outside of the four wards, won in 1927. The records of the Allansford Football Club go back to the 1890s. This cup is of considerable interest, firstly as an attractive trophy in its own right and secondly as a memento of a football association connected with the Warrnambool Council Wards. Both the Council Wards structure and the Wards football association no longer exist. This is a silver cup with two ornamental handles, a slender stem and a silver base. The cup has a lid with a knob in the middle. The cup, lid and base are all heavily etched and patterned with scrolls, leaves and flowers. There is an inscription on one side of the cup. The cup sits on a circular brown wooden base which has a cloth or paste mixture affixed to the bottom. The wooden section has two silver plaques with inscriptions. There is a small piece of wood missing on the side of the top of the mount. ‘The Pritchard Cup presented to Warrnambool Ward’s (sic) Football Association by H. Pritchard.’ ‘Won by Hopkins Ward Football Club Season 1926’ ‘Won by Allansford Football Club Season 1927’ football in warrnambool district, harry pritchard, warrnambool 1920s, history of warrnambool -
Eltham District Historical Society Inc
Letter, Nillumbik Shire Council regarding the Nillumbik Festival for 1995, 11 September 1995, 1995
Information pack advising the Nillumbik Festival has succeeded the Eltham Festival and is to be held 11-12 November 1995. Theme is "Nillumbik - Building the Future Together". Includes information on how community groups can be involved featuring the Grand Parade, Stage Performances and Sporting displays, Stalls and general notes on stall sites and Registration form The Nillumbik Festival was introduced as a replacement for the Eltham Festival following the disbandment of Eltham Shire Council in December 1994 and the creation of Nillumbik Shire Council. It was an attempt to draw away from Eltham and be more inclusive of the wider communities in Nillumbik. However other local communities had their own festivals and the concept of a Nillumbik Festival was never widely accepted by the community and it shortly reverted back to the Eltham Fesitval in 1997.A4 copy paper, 7 pages, white and pink coloured1995, application form, eltham festival, nillumbik festival, nillumbik shire council -
Flagstaff Hill Maritime Museum and Village
Optometer Stands, Early 19th Century
Optometrists are trained to examine eyes and prescribe visual aids such as spectacles. The optometer pictured in the media section of this document dates from the 1800s. The optometer was used with various lenses to determine the refraction of the eye. Refraction means the extent to which light is bent by an individual's eye. The result can determine how short-sighted or long-sighted they are, and the strength of spectacles required. In the second half of the 1800s, ophthalmologists also devised instruments to measure the separate components of vision. Dr Jules Badal developed the pictured instrument in 1876. It was based on an optometer invented by William Porterfield in 1759. The brass stands look as though they were made for an optometer to be table mounted, with heavy brass stands and designed to hold a cylindrical object securely as would be required by an optometer. Stands appear to have been very well made and very early probably early to mid 19th Century by a well known scientific instrument maker given there are no inscriptions or marks to indicate the time period made or maker it is difficult to assume significance to these items at this point in time as well as the items are incomplete.The brass stands believed to be for mounting an early Optometer an (ophthalmic instrument) Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, stands for scientific instrument -
Churchill Island Heritage Farm
Clothing - Lace Trim
A machine made length of lace trim which is off-white in colour, the delicate design features a six-petalled flower with a zigzag motif and a scalloped picot edge. Close inspection reveals subtle picots in the square net to achieve shading. One can imagine how feminine a woman would feel with this lace adorning her garments, possibly at the neck and cuffs of an afternoon dress or as an edging on a petticoat or nightgown. By the mid 19th century, machine made lace had improved so much that it was used by the couture houses on fashionable garments and the handmade lace makers countered by broadening the scope of their lace and marketing it as ‘real’ lace. By the end of the 19th century machines could make perfect copies of any handmade lace.The Amess family owned Churchill Island from 1872 to 1929machine made off-white length of lace trim with zig-zag and flower motif and scalloped picot edge.churchill island, lace, janet amess lace collection, amess -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Postcard, Raphael Tuck and Sons, 1914 c
Postcard is one of I love Lassie series No 4286 Copy of message from Charles R Sands stationed at Durrington Camp Lark Hill Salsbury Plain on January 1917 Message reads Dear Little Dorothy I often wonder how you are since I left South Buchan and wish I was back again with you all. The snow is falling very fast tonight and all are suffering a lot with the frost and cold. I am still here but will be off to France sometime next month I do not feel at all happy this Xmas but I feel I will spend my next Xmas Day in South Buchan as I think the war will.......message continues on VTMH05475.2Black and white postcard of a British WWI Army Officer a little girl about five years old with her arm across his chest. Englandworld war 1914-1918 -
Queenscliffe Maritime Museum
Vehicle - Workboat ex Wyuna
In 1974, this 18 foot (5.5 meter) diesel-powered workboat was one of the last boats built to operate from the pilot cutter Wyuna. These boats were used to transfer pilots from the Wyuna to the ship being serviced or vice versa. Until 1946 they were propelled by two oars then simplex two-stroke petrol engines were fitted followed by diesel engines. The Pilot Service Shipwrights built the boats in a shed which stood on the site of the present Pilot Station, Tobin Drive, North of Shortland Bluff. The design is based on a Gig and was developed by the Pilots as suitable for the severe conditions at the entrance to Port Phillip. To understand how these boats were used view the film "Through The Rip" on the video in the Exhibition Hall.Close association with QueenscliffTimber Workboat used to transfer pilots between Wyuna and ship requiring servicepilot service, wyuna, workboat, boat buiding, port phillip sea piots