Murray Comrie Collection. This photograph shows the Treloar Foundry employees (possibly Henry Treloar with hand resting on the stump extractor) conducting a demonstration of their tree and stump extracting device on a farm in Inglewood while a large crowd watches. Information collated by Murray Comrie: H.W. (Henry) Treloar was a native of Redruth in Cornwall, where he was born in 1811. He worked as a blacksmith in his father's Cornwall foundry and then in 1840 went to work in Cuba as a foreman smith to the Royal Santiago Copper Mining Co. Returning to England in 1851 he remained for two years just as the reports of rich Victorian goldfields began to be heard there. He brought his family to Australia in September 1853, arriving in Geelong and then working in Heidelberg for eighteen months. He returned to Geelong to set up a business but after three months was drawn to the Maryborough goldfields, then Dunolly and then Sandy Creek (as Tarnagulla was then known), arriving in March 1855. He remained in Tarnagulla until his death. He established the Foundry in Tarnagulla in 1855 and was known as the best 'mining' smith in the district. After the decline of mining he turned to production of agricultural implements and the firm built a reputation in the field, through devices such as the 'NONPARIEL' tree and stump extractor, double furrow ploughs, seed harrows and scarifiers. On 26th October 1878 the firm won three first prizes for their implements at the North Western Agricultural Show at Inglewood. The business of Treloar & Son was taken over by the James Bros in November 1894. This photograph is a reasonable copy created from an older original, owned by Miss Doris Nicholls. Copy probably made by Murray Comrie in the 1970s. Monochrome photograph of a large crowd of people watching a stump-removal demonstration in a bush setting.tarnagulla, commerce, industry, blacksmithing, smithing, foundry, businesses, treloar, james, buildings, commercial road, main street

Murray Comrie Collection. This building burned down on Monday October 12th, 1953. This photograph is a well-preserved original. Monochrome photograph depicting Thomson & Comrie's Exchange Store, Tarnagulla, with wagons and people in front.tarnagulla, comrie, thomson, stores, provisions, food, businesses, buildings, commercial road

Murray Comrie Collection. This building burned down on Monday October 12th, 1953. This photograph is a well-preserved original. Monochrome photograph depicting Thomson & Comrie's Exchange Store, Tarnagulla, with wagons and people in front.tarnagulla, comrie, thomson, stores, provisions, food, businesses, buildings, commercial road

Group of people at Melton Cemetery including Greta [Jongebloed] Daniels and Marjorie [Myers] Butler.local identities, pioneer families

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The photographer and subjects of this photograph are unidentified. It belongs to a collection of Haeusler family personal belongings, and is possibly a family photograph. This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A sepia toned group portrait photograph of people wearing Victorian era clothing at the seaside. photograph, photography, family photograph, portrait, photographic portrait, seaside, ocean, beach, victorian, wodonga, haeusler collection

Two photos from a book compiled about the Legacy children's residence called Stanhope. One photo shows a reunion in 1959 featuring several past residents, their husbands and children. Faces have small numbers indicating their names which were recorded on the back: 1 Margaret Guy, 2 Greg Guy, 3 and 4 are their children. 5 Bab Thompson 6 his wife, 7 their child. 8 Alice Cameron and 9 her husband (Black) and their four children. 10 is Lois Clark (nee Fitzsimmons) and one child. 11 Doreen Ashworth and 12 is her husband (Closter) and their three children. The other photo shows two children of past residents. Names written on the page it was stuck on were 'Boy Guy' and 'Baby John Frost'. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01836. Blamey House (purchased 1947) , Stanhope (purchased 1945) and Harelands (purchased 1950) were residences run by Melbourne Legacy to take care of children whose fathers were servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Generally, Harelands accommodated boys and girls under the age of 14, Blamey House looked after boys over 14, and Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of a reunion at Stanhope. A great example of the impact the residence and care had on the lives of the junior legatees that they kept in touch with each other and the home.Black and white photo of a group of people and a photo of a boy and baby at a Stanhope reunion in 1959.residences, reunion, stanhope

PHOTOGRAPH, BLACK AND WHITE, MOTOR CARS AND PEOPLE AT CLUNES SHOW 1919 3 COPIESCLUNES SHOW 1919 PHOTO BY C.WEICKHARDT.local history, photography, photographs, events and celebrations, clunes show

A number of people stand on a timber bridge which spans Spring Creek at Hepburn Springs. hepburn springs, spring creek, spring creek bridge, hepburn mineral spring, pavilion

Eppalock. Construction. Piping in engine room at Lake Eppalock. People walking across walkway.agfacolorcivil engineering, water supply, eppalock, eppalock. construction. piping in engine room at lake eppalock. people walking across walkway.

Colour photograph of the line of people waiting to receive a Covid19 vaccine at the Royal Exhibition Buildings. covid19, vaccine, royal exhibition building, carlton gardens

Bushells tea tin with lid, yellow painted scenery and people carrying tea in India.'Bushells The Tea of Flavour". 'Young, tender leaves, picked fresh and cured slowly, give Bushells Tea that enticing flavour' 'Slow, careful curing imprisons the fragrant sap-juice within the young tender leaves of Bushells Tea'food storage cans, tins, food containers

Colour photograph of church building with group of people outside, motor cars of the era in foreground."Centenary St Paul's Linton 1962".st. paul's church of england linton. centenary 1962

Wedding of Lillian Poultney and Cecil Fatzeus in 1920. Bridesmaid: Nellie Poultney.Copy of original black and white photo of wedding group. Five people, two are seated."The Wedding/1920/Cecil Fatzeus to Lillian Poultney/Bridesmaid: Nellie May Poultney".lillian poultney, cecil fatzeus, nellie poultney, weddings

This house was sold by the Knights approx 1970, and moved to the Linton-Piggoreet Road.Black and white original photograph of five people standing on the verandah of a late Victorian house."Mrs Norriss's house Skipton road Linton 1937 later Knights home".houses, mrs norris, knight family

This extensive weatherboard store was built in 1893 at a cost of one thousand pounds, architect was H French, builder McKnockiter Bros and D Collins the plasterer. William Barke managed the general store, bakery and hardware, brother John Barke managed the clothing and fancy goods department. Building was demolished and replaced by Centrepoint Arcade in 1985-1986Sepia coloured photograph of Barke's Store, people in front of store. Lakes Entrance VictoriaW S Barke, Cunninghameretail trade, people

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

7151: A GROUP OF PEOPLE IN THE LIBRARY. 7151-1: TWO PEOPLE, THE MAN FACING LEFT THE WOMAN FACING RIGHT LOOKING AT A MAP. 7151-2: TWO PEOPLE STANDING IN FRONT OF A FAMILY HISTORY, READING A PAGE IN PLASTIC SLIP COVER. 7151-3 SIMILAR TO PREVIOUS BUT SHOWING PAGE TO CAMERA. 7151-4 A WOMAN STANDING IN FRONT OF PLASTIC CONTAINER. 7151-5 SIMILAR TO PREVIOUS BUT HOLDING A PIECE OF PAPER. 7151-6 SIX PEOPLE SITTING DOWN, THREE ON RIGHT, THREE ON LEFT. 7151-7: TWO WOMEN ON SITTING HOLING A CERTIFICATE.7151-1, 7151-4,7151-5 'Stop Press Treasures Uncovered' Stop Press in Redbiarri

This book has been written by Alice Goldstraw in 1937. It is a fine history of life in the Naringal/Cudgee/Heytesbury Forest area at the end of the 19th century. There are accounts of the bushland, the school and the people in the area. Alice Goldstraw (d. 1967) was the daughter of George and Robina Goldstraw who were pioneer farmers in the Cudgee area. The Goldstraw families were prominent in the early history of Warrnambool and district, especially as timber millers and sawyers. This book is of considerable importance as it is a rare copy of ‘The Border of the Heytesbury’ written by Alice Goldstraw. It provides a wealth of material for researchers. An index to the book has been compiled by the Warrnambool and District Historical Society. This is a soft cover booklet of 34 pages. It has a buff-coloured cover with black printing and blue lines on the front cover. There is also a Warrnambool & District Historical Society stamp on the front cover. There are eleven chapters on ‘The Border of the Heytesbury’ and one chapter on ‘Some People in the Heytesbury’. The printed pages are divided into two columns. The pages have been stapled but the staples have been removed.history of cudgee/naringal/heytesbury forest area, history of warrnambool, alice goldstraw

Soldiers’ Memorial Street scene with Coffee Palace formerly Castlemaine Hotel. Two people in a horse drawn wagon are driving away from the corner on the right hand side while a man dressed in a suit is walking toward the corner. A telegraph pole is behind the memorial and a decorate pole sits on the corner.Small sepia Street scene showing Soldiers Memorial, Coffee Palace building in the background. The Soldier's Memorial is surround by a timber fence with an ornate pole possible a flagpole in front of 2 timber seats. The weigh bridge can be seen behind the memorial and Infront of the Stawell Coffee Palace. Two people in a horse drawn and cart are driving away from the corner on the right hand side while a man dressed in a suit is walking toward the corner.Coffee Palace Stawellstawell ww1

William George Page was Shire and City Engineer in Wodonga from 1965 until 1989. When he arrived the Shire of Wodonga had a population of 17,000 people. In 1966 Wodonga was selected as a city for special growth assistance. In 1972 Bill Page presented a new Town Plan to the Wodonga Council. Over the ensuing years he dedicated himself to bring this plan to fruition. He often had to argue and campaign with the Albury-Wodonga Corporation to push for the interests of development in Wodonga. This included winning a planning appeal to allow the saleyards to be relocated to Bandiana on the outskirts of Wodonga. Bill Page retired on health grounds in July 1989. The Council honoured him with a farewell dinner and renamed the saleyards at Bandiana the W.G. Page Saleyards in his honour.The Mayor , Cr Valentina Gillard, said "Every development in Wodonga in the past 24 years has a bit of Bill Page in it". William Page died 3 months later at 58 years old.This image depicts an important centre in the development and support of the livestock industry around Wodonga.An aerial photograph of the W. G. Page Saleyards in Wodonga. It has been mounted in a wooden frame.On a sign attached to the photo frame: "This photo of the W.G. Page Saleyards has been donated to the people of Wodonga from Mrs Pat Page and Family. The saleyards were named after the late Bill Page, City Engineer of Wodonga Council for 25 years until his death".w. g. page saleyards, wodonga saleyards, william george page

Photo of gas tank on train carriage, several people are standing on top of the tank. A truck can be seen on the right with 2 people standing on the back, another person on the platform. At the left another goods train carriage. Date and location unknown.Kodakphotograph, train, goods

Several people around a lunch table, one male in a grey t-shirt standing holding a box and few other people standing around. Man in white shirt on right with folded arms has a cam of VB in front of him.Kodakperson, group, gas and fuel christmas lunch