Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. Selection of Christmas cards that are available with inscription printed inside. A selection of sentiments to choose from plus the persons name and address - various type forms - can be printed inside. Printing maybe in either blue or black ink. An extra charge is made for gold and silver. A second choice of card is advised and date for delivery requested.Twelve black cover paper sheets with card glued on. Price information given. Two A4 information sheets. Order form pad.zilles printers, ballarat, lewis zilles, christmas cards, christmas sentiments, type forms, gold and silver, order form

288 p. ; red cover, original dust-jacket removed, image from it has been pasted to front cover.Title and author's name handwritten on spine. Title page missing, limited information for catalogue record.fictionRomance fictionfiction

The cards are addressed to Harry Newell from his father. One of the small greeting cards is dated 23 June 1916, France.These cards are the originals that Harry Newell received from his father on special occasions e.g. Birthday, good luck, souvenir, till we meet again. Four Embroired Silk Cards, each card has an opening and inside the 'envelope' is another smaller greeting card.All the cards have Fabrication francaise on the back of the card. Each card is addressed to Harry Newell from his Father.silk cards, harry newell

Set of three City Section Concession Cards, printed on dark green card, cost $1, allows for 8 trips. On the rear of all six tickets, Harry has written the tramcar numbers and the day and month of travel. Ticket Nos. Aa 696031, 756114, 790895.trams, tramways, mmtb, ticket, city section

Ruby Wilson was related to the Wieland family through the marriage of her sister Amy Ellen Thelma to Stanley Wieland.Blue covered book with black stenciled picture of gum tree , koala , kangaroo and kookaburras.All pages filled with hand writing and drawn pictures In ink on back the name Wilson.

Set of 3 The Met travel cards, Travelcard large size, printed on card, tickets for the 1987 to 1989 era for Zone 1. Availability dates printed on ticket but not the year. Later versions printed with the price. Conditions of use printed on rear. Ticket Nos. Ab678603, 640351 and 120201.trams, tramways, tickets, the met, ptc, travel cards

220 p.; red cover, original dust jacket has been removed, a section of it has been pasted to the front cover. This depicts a man and a woman near a farm fence, with a lamb in the woman's arms. Title and author's name handwritten on spine.fictionfiction, oliver sandys

The Jacket and Trousers were issued to a member of the AIF in 1942/1943. The Jacket has no name in it. The Trousers were issued to a person named SERPELL.Field Dress Shirt and Trousers, Drill material, khaki in Colour. Brown buttons on the Jacket, metal buttons on the trousers.Inside the Jacket on a white tag V241 1943 Size Made in Australia. On the trousers Regimental No, Name SERPELL, Q106 Made in Australia Size, 1942.aif, serpell, ww2, 1942 1943

Set of four black and white postcards printed onto a one sided colour textured stock and contained within a folded white glossy paper envelope. The white envelope has the title "Ballarat Trams A Pictorial History in Four Post Cards" and a horse tram printed on it - made from heavy one sided paste board. The postcards consist of 1. Horse tram arriving at Grenville St with person stepping off - same image as Reg. Item No. 1539, 3898 2. ESCo tram soon after opening - c1905/1906 - has Gardens destination sign. 3 ESCo Sebastopol tram at the time of construction - with a "Suttons for Gramophones" roof advertisement and lettered "Ballarat Tramways". 4. SEC Tram - appears to be No. 32 in the Gardens area. On the rear of cards 1 and 2 is a text caption story that is relevant to the card picture. Cards 3 and 4 have a story board on the side and further information on the back. On the rear of card 4 are details about the tramway, some track details, rolling stock and mileage covered.trams, tramways, horse trams, esco, sebastopol type

Set of seven City Section Concession Cards, printed on light green card, cost $1, allows for 8 trips. On the rear of all six tickets, Harry has written the tramcar numbers and the day and month of travel. Ticket Nos. Aa 568356, 602566, 633922, 887161, 926241 and Ba533301, 557771.trams, tramways, mmtb, ticket, city section

Mr Leigh Blackburn, in an address to the Nunawading Historical Society presented the different theories concerning the naming of Blackburn. His great Grandfather James Blackburn I or great great grandfather James Blackburn II?Mr Leigh Blackburn, in an address to the Nunawading Historical Society presented the different theories concerning the naming of Blackburn. blackburn, leigh, blackburn, george, blackburn, james, blackburn, james

Cover is red with a gold cross on the front cover. Title is in gold lettering on spine.non-fictionA book for personal prayer and devotion.prayer, lutheran church, devotions

Article from Brooksy's Briefing September 2021 about the origin of the name of Kingsbury suburb. Kingsbury is named after Bruce Kingsbury, Victoria Cross recipient in World War II.Article from Brooksy's briefing September 2021world war ii, kingsbury, bruce kingsbury, victoria cross

This crochet chart was designed by the twentieth century crochet pattern designer, Mary Card, for the Victorian Centenary in 1934. It was published in the Australian Home Beautiful magazine on November 1934. The chart was published in four sections, with instructions for working it as a complete piece. Mary Card lived in Olinda and published books of her patterns and individual patterns in Australia, American and English magazines from 1909 until the 1930s.Giant paper crochet chart of Mary Cards Victorian Centenary cloth design, featuring Australian animals, ships, buildings and horseman. Chart has FLORENCE / MCNABB 1944 written in pen ar thje bottom. Over the orignial pattern which was printed with VICTORIAN / CENTENARY 1934. Chart is in 4 pieces, each attached to Cardboard. Written on with ink: 12-4-44 On back : No 1, No 2 , No 3, No 4 mary card, centenaries, crochet patterns

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Frederick Birkin No VX32484 enlisted in the 2nd AIF on 25.6.40 age 24 years. Attached to 2/22nd Batt known as “Lark Force” they were stationed in Rabaul awaiting a possible attack by the Japanese. The attack came in early 1942. Birkin was taken POW and his death was on 1.7.42. Numbers escaped, others were massacred at the TOL Plantation and many more of the total Force and civilians lost their lives on the Japanese prison ship “Montivedeo Maru” which was sunk by an American Submarine on 1.7.42. A small number survived this. The cards were all written on the back with name and number of men in Birkins unit prior to embarkation to Rabaul. All were traceable as to their fate or transfer to another unit prior to embarkation. Refer also 182.2, 183. Set of playing cards, red in colour, with 2 white figures sword fighting. Owned by Frederick Birkin.Cards have been written on reverse, in ink, by colleagues of Fred Birkin.documents, cards, personal effects, leisure activities

Formerly the home of Greensborough pioneer, John Scotland, this renovated home retains many original architectural elements. It was sold in December 2016. The house name is Balquhidder, named after a small town in Scotland which was the home of Rob Roy MacGregor.Digital copy of colour photographjohn scotland, scotland avenue greensborough, balquhidder

St. Patricks School Holy Name Group (Males) 1938stawell education

Yields information about the change of the name of the Ballarat and other SEC branches and how it was done., Yields information about the change of the name of the Ballarat and other SEC branches and how it was done.Duplicated notice on quarto paper about the change of name of the Ballarat Branch to the Mid-Western Branch, effective 1/7/1966. Notice signed by the Branch Manager 3/5/1966. Also noted the change of Geelong to Barwon and Mildura to Mallee branch.trams, tramways, workshops, ballarat, crews, depot

Corry – Fay & Male. Female 2 photos (waiting on name clarification 2016)stawell

Item donated by Mary Gilbert, headmistress at Orbost High School, a historian who initiated the Orbost Museum.The album contains cigarette cards/swap cards. These were generally collected by schoolchildren and placed in albums made specifically for these cards. Collectors would try to collect the cards for complete teams of footballers, cricketers.Small green-covered album with tile in faded gold on front. Filled with small cigarette cards. Eight cards per page. Cards put into slit corners.Seven pages of footballers in black and white. One page coloured, one with 5 only, coloured.Three page cricketers in black and white. Three pages butterflies in colour. One page Australian birds in colour. Four pages film stars black and white, six to a page,one page of 5, one of 1.Inscription on front cover in centre.Faded gold cursive writing."Cigarette Pictures". At foot of cover in faded gold block letters."HOLDS 224 SMALL AND 24 LARGE CARDS"album, cigarette cards, 1920 1930, football players, cricketers, film stars, australian birds, butterflies, mary gilbert, english cigarette cards

The spelling of Eliza's surname varies between Coghlan and Cochlan in various sources.The letter does not provide proof of either. List of applicants for land at Schnapper Point [Mornington, including Phillip Island], early settlers and their date of arrival. An extract from "Early History of Mornington" showing residents of Schnapper Point in 1858.HistoricalHand written letter from the secretary of the Mornington Peninsula Historical Society re the spelling of Eliza Cochlan's name . Dated 8/5/1986 Also 3 typed pages containing a list of applicants for Phillip Island land grants and extract from The Early history of Mornington.Letter addressed to Mr Harris, secretary PIDHSeliza cochlan, land grant, early phillip island settlers, land ballot