Worn by Mrs Eva Sebire.One pair of cream, cotton, wrist length gloves with dark brown spade pattern. All side, finger and thumb seams are over sewn with cream cotton thread.clothing accessories, gloves

Ballarat trams 43 and 27 in Lydiard St. North, at Mair St. 13-7-1962. Tram 43 heading south has Electric Cooking roof ad, 27 heading north, with briquettes ad on front of tram, and a roof ad. Has buildings of the east side of Lydiard St. in background looking towards Post Office. Quite a number of motor cars in photo. Both trams have dash canopy lights, but small white strip.'SEC Ballarat, Nos. 43 & 27 in Lydiard St. North 13-7-62' on one side and 'W.Jack Photo' on reverse, all in blue inktramways, trams, ballarat, lydiard st. nth, mair st, tram 43, tram 27

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Unique collection of photographs showing the first years of an armoured regiment of the post-Second World War era Citizen Military Forces showing equipment, uniforms, training and social activity and some personalities.Black and white photograph of seven soldiers, one leaning from window, others standing and crouching in front of building.- wearing a variety of uniforms. All are wearing berets. One of a collection of photographs of 8th/13th Victorian Mounted Rifles Regiment between 1948 and 1951.

The WW1 roll has 11 names with 1 x MC and 1 x DCM award. The WW2 roll has 15 names. The entire structure is in 16 pieces that all fit together.Eaglehawk Lodge No 55 Honour Roll, all marble, all text in gold, the main centre piece is WW1 with Lodge insignia at the top with year dates followed by 2 columns with text and list of names following, at the bottom the Lodge name. Two sections one each side is for WW2 with names on.Centre section, “1914 - 1919 HONOR Roll - The Great War - Eaglehawk - Lodge No 55 VC” Side sections, “World War 11 - 1939 - 1945”memoroabilia, honor, roll, lodge, eaglehawk

On her husband, William's, death in 1914, Violet Holmes inherited 'Sauchieburn’ property in the Ascot District of the Wider Ballarat District, Victoria. Her ownership had descended via the Holmes Family from the pioneer district settler/squatter Captain William Coghill. In turn, the property on Violet's death was left to their family: Violet Spittle (nee Holmes), Mary Holmes, William E. Holmes and Henry Smerdon Holmes. I suspect this photo was sent to Violet Holmes Jnr (m Spittle) [Jane Dyer 2024]Photographic portrait of a girlVerso: Dear Mary, I am sending one of my photos and hope you will like it. Please get your taken and send me one and ask Violet and the boys also. Mother and Daphne send their love to all. From Iris.chatham-holmes family collection, family history, women

This is a typed copy of William Earle’s History of Port Fairy written in 1896. The history is of interest to researchers and the information contained in it has been updated and extended by historians in recent times. William Earle, a printer with a business in Port Fairy came to Australia with his parents, William and Mary, in 1854. He was a Councillor and Mayor and was heavily involved in local community affairs. He died in 1902 at the age of 51. His 1896 history won a prize in a local Industrial Exhibition and was widely acknowledged as an important primary source of early Port Fairy history. This booklet is of minor interest as it is a copy of a 19th century Port Fairy history book and is not a rare item. It is retained as it came from the Baulch collection of documents and belonged to David Baulch of Koonongal Estate, HwakesdaleThis is a booklet of 59 pages of typed material bound into a brown cardboard cover with metal screws. The pages are typed on one side only and have a black border around all sides.David Baulch Koonongal Estate Hawkesdale 3287baulch family, dunmore and rose park, history of warrnambool

Photo in the collection re John Eric Wiles VX16067, refer Cat No 5410P for his service details. Vivian Bullwinkle (The survivor of the Banks Island massacre WW2)B & W photograph on card backing showing three people, two men and one women, all 3 are wearing medals, on rear a label has been typed and stuck on.On rear, “ Sir George Knox, Vivian Bullwinkle, Jack Wiles President Mitcham RSL”photographs, mitcham rsl, wiles

This page of photographs 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. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair

Spike set marlin and coarse bag with rope handle. One spike is straight and all metal/ the other has a wooden handle and curved point. Bag has large holes.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Used on wash days to scrub clothes by hand.All wood rectangular washing board.Has a frame with legs.On one side it has a slatted board upon which soiled clothes were rubbed.Constructed with metal nails, now rusted.Nonewashing, clothes, washboard

Also b & w copy 13 x 18, purchasedBlack and white photograph of nine boys and one young woman, all dressed in their Sunday Best clothing. Known to be St Nicholas Sunday School Group. Lakes Entrance VictoriaMiss Mollands Classreligion

The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989. The book "The First of its Kind" was published in 2015. Printed in Bendigo, by Bendigo Modern Press. Three pages of emailed correspondence from Fay Bourke.Three A4 pages of personal stories and one page of correspondence from Erica Lightbody. All for information from Fay Bourke for the NDSNGA Inc. publication - "The First of its Kind".all documents were regarding the compilation of the ndsnga inc. book "the first of its kind"., four a4 pages of personal anecdotes, one page of correspondence and a photocopy of a photo

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8134.1 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically. Along the shoulders of the reverse of the shirt are four velcro dots from the object being previously displayed. 8134.2 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically.8134.1 - BARCELONA 1992 8134.2 - BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

This cap was part of a media kit produced by Melba Industries, part of the Austrim Textiles Group. The kit was given away at a media launch to publicise the production of an Australian made, nylon wool pack called 'Jumbuck'. The packs will be made at the former Valley Mill in Geelong. This launch occurred on 21 July 2000 and was attended by Andrew Moritz, National Wool Museum Director, who collected this media kit for the museum collection.Part of media kit for launch of 'Jumbuck', Australian made nylon wool packs produced by Melba Industries (part of the Austrim Textiles Group) in Geelong.JUMBUCK / AUSSIE-MADE WOOL PACKS Melba Industries 80% WOOL / 20% VISCOSE / ONE SIZE FITS ALL / HAND WASH ONLY / MADE IN CHINAblack, mr lindsay - melba industries (an austrim nylex ltd company) austrim nylex ltd valley worsted mill, jumbuck wool pack

Cabinet Portrait of Three Girls. The girls are wearing the same type of dress/uniform. Two girls are seated and one is standing behind them. Of the two girls seated, one is wearing above ankle height lace up boots, and the other is wearing the same length button up boots. All the girls have something in their hands, the one at the back has some flowers, the one on the left has a skipping rope, and the one on the right has a basket of flowers.F. Stubbs, St. Arnaudphotograph, portrait, female group, portrait of three girls, f stubbs st arnaud

Conditions of sale by private contract dated 26th November, 1934 between F. Rose (seller) and E.F. Rigby (buyer) of all that fruit and confectionary business situate No. 187 Mitchell Street, Bendigo, comprising all the stock, fittings, counters, show-cases within said shop, together with gas stove in kitchen and everything within the refreshment room with the exception of four pictures, one clock and one piano. Price 120 poundsorganization, business, h.a. & s.r wilkinson real estate

Four receipts, one signed by S R Peary dated 25 July 88, another dated 26/9/88, signed by S R Peary, another dated 12/11/89, signed by S E Peary and the fourth dated 22/2/88 and signed by S E Peary. All are for money received from Connelly & Tatchell. All have green Victoria One Penny Stamp Duty attached.business, legal, connelly & tatchell, connelly & tatchell collection - document, kate peary, s e peary, mrs peary

This election is possibly the new Committee to manage the Bendigo & District Servicemen's Club in Havilah Road. Cat No 8080 Committee meeting talks about getting ready for the opening of the facility to members. President W.B. Nicholls refer Cat No 8073P. Snr Vice President D.J. Paterson refer Cat No 8073P. Committee member David Patterson refer Cat No 8070.Document, paper all print in black listing the complete Committee of the Bendigo & District Servicemen's Club, has names, position, address and phone number. One name is unreadable due to damage. "Office Bearers of the Bendigo & District Servicemen's Club elected at the meeting held on Thursday 20th April 1978 at Memorial Hall Bendigo".brsl, smirsl, bdsc, committee

The letter is written from Morotai by Alan Mason to “Dear Mum & Dad”. Refer Cat No 3979.2 for Alan Mason’s service details..1) Letter, one page, yellow with all printed Logo’s, lettering, security are in red print, letter is in pencil. .2) Envelope, light brown colour with hand written details in pencil..1) “VX140967 Pte Mason A.W 2/10 APOC, AATC” .2) “AIR MAIL” “Mrs W.D Mason 25 Queens St Bendigo Victoria”letters, correspondance, military

Part of a collection from Mrs Jessie Smith showing original Isle of Wight Hotel.Isle of Wight Hotel showing white column gate posts. Five people standing with one holding a child, two sitting on the grass and little dog all near a Cypress tree.Isle of Wight Hotellocal history, photographs, isle of wight hotel - cowes phillip island, black & white photograph, esplanade cowes, phillip island, jessie smith collection, stan mcfee

School 78 - Photo in Lecture Room of Sister E Simpson and 2 Trainee nurses C. Lillie and K. Dodson discussing skeleton. 1971Four black and white proof photos. 3 females with skeleton. 2 x2 photos of same scene. 1st photos all standing 2nd photos 2 standing one sitting.Numbers 7014 - 29.30 40 41 on back. Names written on each proof. Sister E Simpson and Nurses C Lillie and K Dodsonnursing history, nursing information