Two Silk Scarves Cream with Black writing & 1 Felt Card Holder bright pink. Flowers and Leaves on front. One pocket for identity card, one pocket for Ration Book. Mrs Lauris McCann stawell clothing material

O.F.M. was the ORDNANCE FACTORY MARIBYRNONG. Up to the end of June 1943 and at a time when the wages were about £5 ($10) to £6 ($12) per week Australia had spent £1,106,000,000 (£156 per head) on the war effort. A lot of the money was spent at home in making war necessities such as armaments, munitions, boots, clothing, and in providing special training. Significant increases in numbers occurred in the personnel employed in the fighting services, and also in the work force involved in the war effort. During the financial year 1942-1943 the war cost Australia £561,743,000 (over a billion dollars), while the Income Tax raised from individuals totalled only 16.5% of this amount. To finance the war the Australian government had previously borrowed money from the public, and from institutions such as the savings banks, friendly societies, and life assurance societies, by running three successfully subscribed Liberty Loans. The institutions had contributed considerably more money to these Liberty Loans than the public, however it can be argued that the public members of these institutions had also contributed some money indirectly. The 4th Liberty Loan which opened on 5 October 1943 and closed on 9 November 1943 was intended to raise £125,000,000, with the government aiming for 750,000 subscribers. Bonds costing £10 each could be bought on a time payment scheme. A total of £126,408,000 was raised at two different interest rates and maturity dates, however the number of subscribers had only reached 567,533. Some newspaper reports of the time indicate that the low number of subscribers was a partial failure of the loan, because spare money in the community could lead to inflation at a time when goods were in short supply. The government set target quotas on how much money should ideally be raised in a particular district, and how many subscribers should ideally take part. Often these quotas proved to be excessive. The Special Red Pennant Award as given to the No 1 FORGE O.F.M. was normally for achieving the highest per capita contribution within each particular group. What is unknown at this stage is what other entities were in the same group, or how large the group was. There were other variations of the awards such as those given to country districts, where a star was placed on the left hand corner of the pennant if the money quota was reached, while two or three stars indicated that the quota was doubled or tripled. A bar was also included on the pennant if the quota of subscribers was achieved, while two bars indicated double the quota of subscribers. The above information was sourced from Trove newspaper articles at: (1) http://nla.gov.au.nla.news-article70439716, (2) http://nla.gov.au/nla.news-article141292541, (3) http://nla.gov.au/nla.news-article11797265, (4) http://nla.gov.au/nla.news-article11788072, and from (5) http://static.awm.gov.au/images/collection/pdf/RCDIG1070158--1-.PDF (see page 580).This framed award has significance in that it serves as a historic reminder that the No 1 Forge O.F.M. and the Ordnance Factory Maribyrnong once existed within the Shire of Braybrook, and later the City of Sunshine, and that it was involved in the manufacture of ordnance for World War 2. It also serves as a historic reminder that it costs a huge amount of money for a country to be involved in a major war, and that a big contribution is required from the public to raise money and to produce goods for the war effort.Permanently sealed brown stained wood frame with a glass face. Enclosed behind the glossy glass is a triangular shaped pennant made of red felt material. The red colour appears to be somewhat faded. The inscriptions and markings on the pennant are in blue, gold, and white coloured inks.The AUSTRALIAN COAT OF ARMS diagram plus the following writing: SPECIAL AWARD / 4th LIBERTY LOAN / Oct.-Nov. 1943 / No 1 FORGE O.F.M.4th liberty loan, special award, ordnance factory maribyrnong, no 1 forge o.f.m., oct - nov 1943, red pennant

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

Nillumbik Prize finalist (2018, 2016, 2015, 2014). The artist lives and works in Nillumbik. Abstract sculpture inspired by the artist attending a local ceremony in Nillumbik to harvest tubers of the Murnong (yam daisy), a traditional staple of the Wurundjeri people. Wirth was also inspired by the writing of Bruce Pascoe. Wirth works intuitively with awareness that meaning may be deciphered through the combination of material/mediums/techniques that she uses randomly. Through the process of experimentation and automatism Wirth allows her work to evolve organically. Wirth is represented in public art collections including: Victorian College of the Arts, Victorian Performing Arts Centre and Ararat Regional Gallery. She also completed a residency at Laughing Waters in 2012. Yellow abstract sculpture woven into a vessel with long tentacles using cotton yarn. N/Afinalist, nillumbik prize, abstract, textile, yellow, vessel, yam

Full uniform used by Thessaloniki Association's soccer team in a tournament organised as part of "Dimitria" celebrations in soccer matches, outdoor and indoor.Historical significance for the purposes it was used by Thessaloniki Association "The White Tower", in indoor and outdoor soccer matches Men's navy blue and white soccer jersey, with white collar and inscriptions. Has Thessaloniki logo across the chest and in white writing, S.S.I. logo, and Pronto Refrigeration logo of same name sponsor. S.S.I. manufacturer logo also on white collar. Polyester material and part "A" of a two piece uniform.Thessaloniki, S.S.I., Pronto Refrigerationjersey, soccer, blue, greek, φανελάκι, dimitria, thessaloniki, plutarch, στολή

The Signal Express provided daily reviews, interviews and printed materials around the 2013 Emerging Writers' Festival. These include articles including a Q&A with Director Sam Twyford-Moore.A series of black and white, A4 printed publications that focus on the 2013 Emerging Writers' Festival.10th emerging writers' festival, sam twyford-moore, 2013, program, the wheeler centre, emerging writers', literary, anniversary, festival

Awarded to Dora when Mitcham had a Horticultural Society, 1958. Second PrizeDark blue Rayon sash, 88cm long, gold coloured fringe each end, stamped gold writing, 'Mitcham Horticultural Soc/ Autumn Show, 1958, Best Floral Art Exhibit'|(Refer to Documents - ND6294 for certificates)As abovetrophies & awards, public events, ethnographic material, dress and ornament

Round bottle of Indian Ink. Screw top lid made of bakelite type material.Reeves Indian Ink|Reeves & Sons Ltd Enfielddomestic items, writing equipment

Presented to Cecil John Wilson Gillan WWI. From Caulfield Mayoral Patriotic Fund in appreciation to a Caulfield Soldier. It was donated by the son in law of Cecil John Wilson Gillam.Presented to a WWI veteranLeather zippered case is a comforts package from the Caulfield Mayoral Patriotic Fund to a 'Caulfield Soldier.' Inside were two cylindrical containers with lids and a shaving brush, a rectangular lidded container containing soap. Inside is lined. There are four pieces missing. Inside is lined with striped plastic. It was used by Cecil John Wilson Gillan. Materials: Bakelite/Plastic (Containers); Leather (Case); Metal and Cotton (Zip).Gold writing. To a Caulfield Soldier as a token of appreciation from Caulfield Mayoral Patriotic Fund.military history, army, personal effects, containers

Originally located on large oak reading table in the Rowden White Library until the end of 2003. Replaced by brass versions made by Thomas Mintsenikos on 26th May 2004.In 1938 Dr Alfred E. Rowden White contributed 1,000 pounds and his own personal book collection to the University of Melbourne Student Union to establish the library that still bears his name. Rowden White's idea was that students should have access to materials beyond those prescribed for their courses. As Library Rule No. 7 stated, 'Except under exceptional circumstances, the room MUST NOT BE USED AS A WRITING ROOM'One of two white plastic signs mounted on a wooden base with black letteringSign reads 'Please do not study'. university of melbourne student union, rowden white library, signs

Robin Boyd’s desk cupboard contained two exercise books (D482.1-D482.2) and assorted articles, essays and other material regarding Sydney Opera House (P1378.01-P1378.36, D179-D181, D479-D480), inserted inside the front cover of Walkabout Magazine July 1966 (P1377). Robin Boyd asked Mandie Eckersley (nee Boyd), his eldest daughter, to research the Sydney Opera House for him in the Mitchell Library, both before and after Utzon left. Robin was writing a book, but was very disillusioned with the way the entire saga unfolded. Mandie Boyd recalls: “It was a huge task because he wanted any mention at all in any publications to be noted. No one else had done it at that stage, not even the clippings service.” This second (and final) volume is filled with transcriptions on newspaper articles, editorials and letters to the editor covering the period 1962 to 1966 when Utzon quits. The Reding Universal Exercise Book, filled to pp 0-48 and p 92Written on front cover: "Mandie Eckersley, 19 South Street, Edgecliff. NSW." In exercise book: handwritten notes. On back cover: list of dates from 1966-1977. Inserts in page 41: Public Library of New South Wales photocopying service receipts dated 8-2-67. Public Library of New South Wales Applications slips for books from stack.sydney opera house, jorn utzon, sydney opera house project

Robin Boyd’s desk cupboard contained two exercise books (D482.1-D482.2) and assorted articles, essays and other material regarding Sydney Opera House (P1378.01-P1378.36, D179-D181, D479-D480), inserted inside the front cover of Walkabout Magazine July 1966 (P1377). Robin Boyd asked Mandie Eckersley (nee Boyd), his eldest daughter, to research the Sydney Opera House for him in the Mitchell Library, both before and after Utzon left. Robin was writing a book, but was very disillusioned with the way the entire saga unfolded. Mandie Boyd recalls: “It was a huge task because he wanted any mention at all in any publications to be noted. No one else had done it at that stage, not even the clippings service.” This first volume is filled with transcriptions on newspaper articles, editorials and letters to the editor covering the period 1951 to 1962.The Reding Universal Exercise Book, all pages filled (92 pages)Written on front cover: Mandie Eckersley, 20 Dillon St, Paddington, N.S.W. Telephone - 318339, Dec 1962, L01919. In exercise book: all handwritten notes. On back cover: list of numbers, squiggle, and dates "Dec 18 Dec. 23".sydney opera house, jorn utzon, sydney opera house project, ohm2022, ohm2022_24

A wooden tennis racquet with nylon strings. Has composite throat which is open but has central supporting piece, and plastic reinforcements along shoulders and throat. Plastic tape around base of throat and above handle. Leather end wrap. Writing on butt cover states: MAX C. EASTMAN/971 BUTTERFIELD ROAD/SAN ANSELMO/TELEPHONE 456.... Materials: Wood, Lacquer, Metal, Glue, Ink, Leather, Plastic, Nylon, Papertennis

Black and white photograph of Brad Drewett and Mark Edmonson playing on court. Writing on reverse states :'Stars of the Australian Open' and 'The Year that Was'. Materials: Paper, Photographic emulsiontennis

Black and white photograph of unknown player. Writing on reverse states: 'L.T.A.A. 128 Jolimont Rd, East Melbourne'. Materials: Paper, Photographic emulsiontennis

Silver trophy goblet. Paper label on bottom states 130693. Engraved with abstract organic designs and with writing: "A.B. Archer 1886...A.B. Archer 1887...St. Leonards L.T.C. Championships". Materials: Silver/Metaltennis

An description of the first picnic for 260 war orphans (boys) and their mothers at Ricketts Point (Black Rock) in 1926, who were transported in two charabancs by Legatees, some of whom were in fancy dress. Pages 5-16 recounts anecdotes of Syd Birrell unrelated to the picnic. The writer is anonymous but by the hand writing it is possibly L/- Frank Doolan, a founding member of Legacy, who was part of a committee to capture the history of Legacy and create an archive of material.First hand account by a participant on the trip, which details some highly irresponsible activities which were seen as perfectly acceptable at that time. Some of the anecdotes about Syd Birrell would now be regarded as polically incorrect, but the anonymous writer expresses his amusement and admiration, and references ‘Legacy - the story of the Melbourne Legacy Club' by Claude Blatchford.13 handwritten A5 sheets, numbered 1-16 (missing 9, 10, and 15) in red print on top right hand corner, blue biro on white lined paper, probably torn from a notepad.junior legatee outing, founding legatee

Item donated to Colac RSL by the Baulch Family February 2008. Constructed of Otway Forest Blackwood. Made by Frank Nemec of Eden N.S.W High SignificanceBlackwood Timber Frame. Blue material cloth background, with photos and military badges. Banner - Blue material with gold writingPhoto Frame:- Upper Left. Private Frank Baulch. VX72238 + small Rising Sun Badge. Born 15/11/1911 at Glen Aire, Vic. Enlisted 15/2/1942 in Caulfield, Vic. Discharged 3/12/1945. 2nd/2nd Pioneer Battalion. Lower Left. Corporal Horace Baulch. VX869036 + Large Rising Sun Badge. Born 29/4/1942 at Colac, Vic. Enlisted 29/4/1942 at Seymour, Vic. Discharged 13/3/1946. H.Q. AMF School of Mechanization. Centre. Lance Corporal Stanley Baulch VX72233. Born 8/12/1914 at Gellibrand, Vic. Enlisted 19/1/1942 in Caulfield, Vic. Discharged 5/12/1945. 2nd/2nd Pioneer Battalion. Private Jack Baulch VX72232. Born 18/5/1917 at Colac, Vic. Enlisted 15/1/1942 in Colac, Vic. Discharged 29/1/1946. ? Battalion Lower Centre. Female Relatives Badges and Information sheet. Badges:- Sarah, Alice, Iris and Elizabeth Baulch. Photo Sarah and Fred Baulch. Upper Right. Alexander Baulch VX56771 + small Rising Sun Badge. Born 21/2/1919 at Collingwood, Vic. Enlisted 28/5/1942 at Royal Park, Vic. Discharged 20/11/1945. ? Batt. Lower Right. Norman Baulch. VX86902 + large Rising Sun Badge. Enlisted 28/5/1942 at Royal Park, Vic. Born 5/12/1921 at Colac, Vic. Enlisted 29/7/1942 in Seymour, Vic. Discharged 28/2/1945. ?Batt.

A Spalding 'Oval' model tennis racquet, featuring laminate convex throat, fine-grooved wooden handle, leather end wrap and leather butt cloth. Model name printed on throat on obverse, and manufacturer logo printed on throat on reverse. Manufacturer logo printed on butt cloth. Writing on side of shaft says: 'PATENTED/JAN 3. '05.' Materials: Wood, Metal, Lacquer, Glue, Leather, Gut, Ink, Stringtennis

A Spalding 'Oval' model tennis racquet, featuring laminate convex throat, fine-grooved wooden handle, leather end wrap and leather butt cloth. Model name printed on throat on obverse, and manufacturer logo printed on throat on reverse. Manufacturer logo printed on butt cloth. Writing on side of shaft says: 'PATENTED/JAN 3. '05.'. Sticker on reverse throat states: 'WETHERBEE BROS./39 N. PRAIRIE ST./ GALESBURG, ILL.' Materials: Wood, Metal, Lacquer, Glue, Leather, Gut, Ink, Stringtennis

A Spalding 'Oval' model tennis racquet, featuring laminate convex throat, fine-grooved wooden handle, leather end wrap and leather butt cloth. Model name printed on throat on obverse, and manufacturer logo printed on throat on reverse. Manufacturer logo printed on butt cloth. Writing on side of shaft says: 'PATENTED/JAN 3. '05.'. Materials: Wood, Metal, Lacquer, Glue, Leather, Gut, Ink, Stringtennis

A Spalding wood tennis racquet, featuring concave throat & fine-grooved octagonal wooden handle. Stamp on throat states: 'FRANK LAFFORGUE/YALE/CLUB/NEW YORK CITY'. Writing on side of shaft states: 'MAN'F G'D BY A.G. SPALDING & BROS/FOR FRANK LAFFORGUE/YALE CLUB'. Has a leather end wrap and tape reinforcements on shoulders .. Non-original suede wrapped around hand grip & held in place with metal nails. Materials: Wood, Metal, Lacquer, Glue, Gut, Ink, String, Leather, Cloth tapetennis