black and white photo: three rows of students dressed in shorts and white tops, middle boy holding a basket ball. No names. Sign in front : Golden Square Primary School 1971 R S I.bendigo, education, sporting team

Frances Horace Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c.1920 until the 1940s. After Francis Rigg’s death, the collection of badges, buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemorations of 2015. The collection covers a period of almost 40 years. The majority are fundraising buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.Fundraising badge dating to World War I with an image in the centre of King George V. ‘King George’s Day’ buttons were sold on 2 June 1916, the day before the ‘actual’ celebrations of the monarch’s birthday."King George’s Day"patriotic buttons, first world war (1914-18), george v

Red cloth bound cover with faded embossing on front ' Life of Napoleon 1' with gold embossing on the spine 'Life of Napoleon 1, J:H:Rose M:A:, I, GEO:Bell & Sons' xvii ; 512 pages ; 20cm ; illus Handwritten inscription on first page '175, 923 ROS R79' Stamp on various pages ' Kilmore Mechanics Institute' napoleon 1, biography, kilmore mechanics institute library.

Established at Victoria Barracks, in Melbourne, in June 1940, the 2/23rd Battalion was raised as part of the all-volunteer Second Australian Imperial Force and assigned to the 26th Brigade. Under the command of Lieutenant Colonel Bernard Evans, a small cadre of experienced personnel drawn from Victorian Militia units were concentrated at Victoria Barracks prior to the battalion headquarters being relocated to Albury, New South Wales, where a large number of volunteers were completing their recruit training at the 4th Recruit Training Battalion. Upon the conclusion of this course, the recruits were posted to the 2/23rd and the battalion – over 900 strong– moved to Bonegilla, Victoria, just across the border, where more complex collective training was completed prior to departure overseas. A large majority of the battalion's initial intake of volunteers came from the Albury–Wodonga region and as a result, the 2/23rd became known as "Albury's Own"This item is part of a collection of items owned by Arthur Lock, a member of the 2/23rd Battalion, an all-volunteer Second Australian Imperial Force which served as part of the garrison during the Siege of Tobruk, then at El Alamein, New Guinea and Borneo. It has particular local significance as the battalion was know as "Albury's Own" because a large majority of the battalion's initial intake of volunteers came from the Albury–Wodonga region.A plaque commemorating "Albury's Own" - the 2/23rd Battalion. It incorprates the Unit badge and a a list of battlefronts they served in as part of the 9th Brigade. The Latin in the centre of the badge translates as "I will either find a way or make one". In circular badge "ALBURY'S OWN/ 2/23 RD BN. AUT VIAM INVENIAM AUT FACIAM " On metal oblong "9th DIVISION /EL ALAMEIN -TOBRUK- LAE/ SATELEBERG - TARAKAN"world war 11, 2/23rd battailon, albury's own

In 1853, Bendigo Miners protested against the 30 shilling miners licence the had to pay the government. They wore red ribbons to show their protest and shopkeepers hung red ribbons outside their premises in support. Thousands of miners signed a petition to Governor LaTrobe to no avail. A protest gathering in Pall Mall marched to the Government camp on Camp Hill but this was a peaceful event again to no real avail.Three participation ribbons for Red Ribbon Agitation re-enactments in 1992, 1993 and 1994. Written on ribbons in white print ' I joined the Red Ribbon Rebellion of (year). On bottom, a scroll with Sandhurst Town written.bendigo, history, red ribbon agitation

Dark blue blazer, I Battalion Royal Aust. Regiment Badge embroidered on left breast pocket. Two brass buttons featuring 1 Battalion crest on right. Two hip pockets, long sleeves.1 rar association, blazer, passchendaele barracks trust

Photo of 1 RAR Trooping the Colours at Selarang Garrison in 1970. Part of the collection of "Lloyd Farrell". Refer Cat No. 7889P.1. Photo of members of "C" COY Trooping the Colours at Selarang Garrison in the Parade Square. 2. Photo of soldiers on parade being inspected by Superior Officers at Selarang Garrison in 1970 for trooping of the colours of I RAR..1. “LR 21”, written on back. 2. “1970”, written on back.butterworth, selarang, photographs, lloyd farrell

BHS CollectionDiggers & Mining. Diggers and miners. A diagram; - - - or in quartz reefs extending perhaps thousands of feet under the surface. (a) Quartz (b) Worked portion of reef. Markings: 24 994:LIF I. Used as a teaching aid.hanimounteducation, tertiary, goldfields

The Château de Malmaison is a country house in the city of Rueil-Malmaison about 12 km from Paris. It was formerly the residence of Joséphine de Beauharnais and, with the Tuileries, was from 1800 to 1802 the headquarters of the French government. (Wikipedia)Black and white postcard of a three storey chateau. It was the manor house Joséphine de Beauharnais who bought the house in April 1799 for herself and her husband, General Napoléon Bonaparte, the future Napoléon I of France.chatham-holmes family collection, rueil, napoleon, henry smerdon holmes

Sinai desert Asia Minor Feb 13th. Dear mother, just a card in answer to your ever welcome letter I received today. Sorry to hear Dad in not to well. I wrote a long note to him this week. Send it onto Ella to see. I had a letter from Jack to day. He is getting better. I had a letter from Tom yesterday. I heven’t been getting his letters lately. We are both well. Roy had no word from you, wondering what’s the matter. Going on patrol duty 4 in the morning, no fighting here yet. All for this time, goodbye, best love to all from Bill. Remember me to the boys. Collection re Mrs May Burns.Postcard photo, B & W, pyramids - several trees in foreground. The rear has a hand written letter in pencil.Top right: Cairo - Pyramidsdocuments, photographs, postcards

History of the Gallipoli campaign of World War I.Owned by the Partington family.Paperback, 351 p., illus.On title page: 'Faye Fort'.gallipoli, world war i, partington family.

A grey paperback textbook, Whitcombe's New federal Mathematics Grade VIII printed in black lettering at the top of the front cover with a scroll surrounding it. Specially written to meet the requirements of the Revised Course of Study in Victorian Schools is written below in a box with the publisher Whitcombe and Tombs Limited with the cities listed below. 1/9 price is in the bottom right hand corner. Inside the front cover is an advertisement for the New Federal Arithmetics in seven books, The inside back cover has Whitcombe's Vivid History Readers listed and on the ouside, Whitcombe's Human Geography Readers. Lance Sebire Wandin Yallock State School 1033 Mont De Lancey is written in blue ink on the front and in grey pencil on the title page. At the back on the inside cover at the right top is written in blue ink - How I spent my holidays. Exrecises, diagrams Equations and other Mathematical studies is seen throughout. Foxing, stains, dog eared pages and ink is seen on various pages. 176p.non-fictionA non fiction textbook about Mathematics specially written to meet the requirements of the Revised Victorian Course of Study in Elementary Schools.mathematics, victorian school curriculum

Source: Allan Marshall "I think short man with bowler hat is Sammy Cracknell, the famous jockey who once won the Melbourne Cup. I boarded at this pub. It is the setting of 'This Is The Grass'." - Alan Marshall, June 1969.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagehotels, kangaroo ground, kangaroo ground hotel, sammy cracknell, sepp, shire of eltham pioneers photograph collection

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925. Page 1 S/S City of Norwich Port Said My Dear Old Lillie, Well, I never got so much of a shock in my life, when your postcard turned up 2 days before my birthday, wishing me many happy returns, for which I thank you sincerely, and am sorry to say I had forgotten yours, or being very quiet about your various qualities, you would not tell me. Well to get on with the news, the next day I had a telegram to report at the Line head office, on the 15th Aug. early, imagine how I swore, as a little do was to [be] held at night, they immediately shored me on this ship S/S City of Norwich to go to Port Said, then join the City of Corinth bound for Boston & New-York so I may come out to “little Aussie” again from there with a little luck, any way we ought to be in New-York about the 19th Sept to stay a month, I will write you more in detail from there, if you feel inclined and have forgiven me for being so long about answering your last letter, could you write to S/S City of Corinth, C/o Norton Lilly & Co, New-York. U.S.A. I would jump like L”l Page 2 how is the cow milking going on, but still that joke is as unfair as the small joke about my age now, both afflictions being cured by now I hope. Well really I am no letter writer and can find very little to interest you on paper Lillie, and my photo, I hate being taken as much as you, but will do my best, if you can wait a little please, hoping you are getting one that awfully exciting week with the mission as you call it. You must be A.1 actresses to amuse such a motley crew. Hoping you are all well at home, give Mr & Mrs Duncan my kind regards, sending my best love to you dear. Hoping you will recognize me if I can come along. with tons of love, Howard. P.S. I hope to be a little more sophisticated when I come next time [-] you may be able to tell me. Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in three parts: Part 1.1 (0007.1) Envelope Part 1.2 (0007.2) First page of letter Part 1.3 (0007.3) Second page of letter The pages, as is the envelope, are a creamy yellow colour with black cursive writing on one side of the page. Page 1 of the letter begins with the salutation "My Dear Old Lillie...". Page 2 of the letter concludes with "...you may be able to tell me".The envelope is torn across the top for access to its contents. It has two stamps on the top right hand corner both with the text "Port Said 23AU25.4.5P".lillie duncan, howard, port said, lhlg, ss city of norwich

Jacqueline SLAYMAKER This work was undertaken in 1992 when Jacqueline Slaymaker was a 3rd Year student at Ballarat University College. The catalogue for the End of Year exhibition in 1992 states "The figures importance is purposeful. The strong sculptural form of the torso, tensions of the skin and volume are the aspects I focus on. Drawing is vital to my painting. The heavily layered works that I sand, scratch and rub back into eventually resolve some of the problems associated with painting. I believe this constant re-addressing creates a sense of history and building a texture creates a sense of history and build up of texture illustrates the concrete solid way I see the figure. I draw resource from ancient sculpture in particular Etruscan coffins and tomb wall painting. More recently I am interested in the draftsmanship of Jim Dine and monoprints of May Frank.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed life painting of a female nude. art, artwork, jacqueline slaymaker, nude, life study, oil on canvas, alumni, end of year exhibition

The Grinton Collection. Well wishers greeting troops on the HMAT Karmala returning home 1919 Refer Cat No. 1280 for Jack Grintons service details.Photograph framed. Photograph - black and white photograph on paper depicting a boat tender with approximately 40 civilians on board on the water. Frame - Timber, light varnish finish, Perspex front, cardboard backing."Group 5: Quota 45 - Journey Home". "I. Greeting returned soldiers on the HMAT Karmala".framed accessories, camera on the somme, ww1, 38th bn, grinton, hmat karmala

Apothecaries weights were historically used by physicians and pharmacists for the assembling of medical recipes (20 grains = 1 scruple; 3 scruples = 1 dram (drachm); 8 drams = 1 troy ounce). The coin weights were used up until about the 1940s. This coin is a stater, a 2 gram coin. The symbol for the dram was the number 3 and the letters ‘ij’ are equivalent to the Roman numerals 11 meaning two. The coin has the date March 16, 1847, the date of the registration of the coin.This coin has no known local provenance but a two-dram coin such as this would have been used by doctors and pharmacists in the Warrnambool district from the 1840s to the 1940s approximately. It will be useful for display.This brass circular weight with raised engraving has an annulus of very small dots close to the rim on the obverse and reverse sides. The edge is smooth with a small chip .It is named a StaterObverse REGISTERED MARCH 16 1847 a CROWN Reverse .TWO DRAMS 3 I j apothecaries, weight, warrnambool history

A medallion presented to Private A. C. Hill by the citizens of Frankston, Victoria. These medallions were presented to local men who enlisted for service as they departed to World War 1 by the "Citizens and Patriotic Committee". The medallion has a gold finish and has an olive wreath around the circumference. A small loop is provided to attach the medallion to a chain or similar. In this case the medallion is attached to a fob watch chain commonly worn by men when dressed in a jacket. (refer item 00325).One side of the medallion is inscribed: "A. Hill" "From the citizens of Frankston" and the other is inscribed "A. I. F."

This plate, a polished brass altar salver, is part of the original furnishings of St Nicholas Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. The plate is sometimes called a salver, a paten or a communion plate. It is used for serving the communion bread. The plate was presented to the Mission to Seamen, in memory of Kenneth Wyatt McVilly, who passed away on December 4th 1943. The letters on the lip of the plate, A.D.G., stand for the Greek Alpha Delta Gamma, and are used to represent "For the Glory of God". THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This memorial plate is significant as it is associated with a member of the community, Kenneth McVilly, and was presented in his memory after he died in o1943. This plate is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. Plate, polished brass altar salver, or communion plate. It is round with decorative initials in the centre. Outer lip has an inscription of dedication to Kenneth Wyatt McVilly, December 4th 1943. This plate is in our St Nicholas Seamen's Church Collection. “A.D.G. / and in memory of / KENNETH WYATT MCVILLY / December 4th 1943” and initials "I H S"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, church furnishings, mission to seamen victoria, st nicholas church williamstown, brass plate, kenneth wyatt mcvilly, altar salvar, religious service, memorial plate, altar salver, communion plate, paten, communion service, a d g

Original Poster for a Ballarat School of Mines Dance. The poster features Snoopy and is black ink on cream paperGood grief ... Not another SMB Dance! I suppose it will be on the 5th at Corbould Hall with an admission of 50c ...ballarat school of mines, dance, corbould hall, student activity

In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Due to the age of the record dating back to 1976, we can infer it is one of the few remaining complete, intact and original examples of The Ruytonian from this period. Therefore, it can be considered an outstanding representation of its type, and is a reference example for research in early Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Black and white publication printed on white paper. 36 pages.Front Cover: R / u / y / t / o / n / i / a / n / 7 / 6 /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

Rev Ira Menear (1901 - 1977). Born at Kapunda. Worked at the Kimba and Pt Neill mission stations on the west coast of South Australia before studying at the Brighton Training College and Adelaide University. Graduated B.A. Adelaide University 1928. After completing his theological training he was appointed to the Norwood Circuit before being appointed to take charge of the Methodist Inland Mission at Cloncurry. Minister at Crow's Nest, Gympie & Rockhampton 1936 - 1940. In 1940 he was accepted as a pilot officer in the RAAF, having been given leave of absence by the Methodist Conference. Menear enlisted RAAF air crew but was later transferred to the administrative staff. He rose from A.C.1 to the rank of Acting Wing Commander. He served in many parts of Australia, including the Darwin area. After the war Rev Menear took charge of the Commonwealth Rehabilitation Centre at Mount Osmond and later Mount Breckan, Victoria Harbour Rehabilitation Centre. B & W waist length studio portrait of Rev. Ira Menear dressed in his RAAF Flt. Lt. uniform."Seasons Greetings I Menear F/LT Control Officer Operations Room Pearce W.A."ira menear, methodist, minister, adelaide university, brighton training college, methodist inland mission, cloncurry, raaf, commonwealth rehabilitation centre

This object relates to Herbert Swain GREENING. He was born on 1/01/1891 in Ballarat, VIC. Herbert Swain served in the AIF (3292) enlisting on, 13/07/1915 in Ballarat, VIC before being discharged from duties with the 5 BATTALION as a Army Non-Commissioned Private (PTE) on 15/02/1918. Herbert Swain GREENING was not a prisoner of war. His next of kin is Mrs. M. Greening - Mother. Herbert Greening was awarded the 1914-1915 Star, British War Medal, Victory Medal.Tin or aluminium tag, circular in shape with embossed text. Loop at top is attached to the circular disc as a single piece of metal.Embossed in tag: “H. S. GREENING (in round arc design)/ 3292, 5. A. I/ C.E”first world war (ww1), 1914 - 1918, uniforms, ballarat rsl, ballarat

A sepia photograph with a cream border printed on very thin paper of three ladies dressed in long skirts and white long sleeved blouses with dark ties. They are standing in a valley with a hill and trees behind them. Written on the back in ink: WITH FONDEST LOVE/FROM MURIEL/I FORGOT TO PUT IT IN/MY LETTER.

Laurie started work in an office but moved to establish her own gardening business. She eventually returned to office work but during the time that her business operated she worked in many gardens in Doncaster, North Balwyn, Toorak, Malvern, as well as Surrey Hills and Mont Albert. A pink card with black hand-written printing advertising Laurie's Lawn Cutting.On top of card on rear "I had "GREEN THUMBS" like Pop" in Laurie Young's handwriting.laurie young, laurie newton, gardening

Items such as this cushion covers were purchased by Australian men and women serving during the First World War as souvenirs of their travels and gifts for their loved ones at home. BHS records indicate that this cushion cover belonged to Mary Crombie, an early Victorian dentist who lived in Brighton while she was studying at the Australian College of Dentistry in the mid-1900s, and later returned to the area in her retirement from 1949-1971. It is likely it was given to her as a gift by a friend of family member who served in Egypt.Pale pink satin cushion cover with pale blue fringe. Embroidered with the words "Souvenir From Egypt / Cairo / 1915", above the image of a crown flanked by crossed Australian and French flags. Below this is embroidered two pyramids and the Great Sphinx of Giza, bordered by flowers, with a red bow at the bottom.Written in blue pen on reverse side: "Memento of World War I / from Mary Crombie".cushion cover, 1910s, first world war, world war i, egypt, cairo