Celluloid doll with pink dress (discoloured) & cream knitted bonnet. Gold bracelet on her wrist. Blue eyes open and shut when upright/lying down. Legs and arms straighten or bend into sitting position toys, children, doll, presents, celluloid

Painted by Bianca BiesuzCream card window mount with pink edging lines. Text panel cut out lower edge. Brown wood frame with gold edging. Painting portrays trees with a pathway through them, white bridge,"Dryings Road Bridge"

Colour photograph. Peter Ellis sitting on stage. Woman in pink dress with fur sitting on edge of stage. Back of photo reads: Emu Creek at Spring Gully Hall. Date stamped '98 6 19.person, individual, peter ellis oam

S.D. Fisher, Australian Jockeys, Sniders and Abrahams Issues, Standard Cigarettes, Series of 61 unnumbered, Issued 1908-1909Cream, cardboard card. Front, image of jockey in pink jacket with brown hoops, brown sleeves and brown cap, with jockey name in brown text on bottom of image. Back, 'Standard Cigarettes' in tan text in box.s.d. fisher

The 'Copy Shop' in Walpole Street, Kew was located in the former Masonic Hall. It was a community operated facility. The 'shop' was designed for use by groups to run off leaflets or newsletters. It also served as a community space where people could drop in for a coffee and leave leaflets and information about events in the City of Kew. Two polaroid photographs, Thea Sartori in a red jumper is in both photographs. The woman in the pink cardigan is Aileen Cahill. Both photos were taken at the 'Copy Shop' in the old Masonic Hall [demolished] in Walpole Street. front: "Copy Shop"copy shop - walpole street - kew (vic), community facilities -- city of kew, masonic hall -- kew (vic.)

Coffee coloured chemisette with lace. Machine sewn with two layers of netting applied by hand. Pink and green bullion knots worked on top net layer which is of machine made lace already embroidered and assembledlace, women's clothing, australian fashion

Pair of hollow ceramic figurines; a female (.1) and a male (.2) character both holding racquets and wearing pink outfits. Scratched numbers under base: 62 (on .1) and 55 (on .2). Materials: Ceramic, Pigmenttennis

A sealed plastic container of two pink Penn 'Courreges Paris' tennis balls. Has intact metal ring-pull lid and a plastic reclosure cap. Materials: Metal, Ink, Plastic, Synthetic material, Rubbertennis

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Tailored pink raw silk jacket and dress. The long sleeve jacket has a peaked collar and double pockets at front. The jacket is fastened with buttons of the same fabric and colour. The buttoned skirt has soft pleats.women's clothing, fashion -- 1960s, suits

Jewelry box ornate casting with holly motif, handle formed by holly. Silver plated gun metal (?). Hinged lid, on four splayed feet, pink satin lining (top and bottom) with cord rim on bottom.J.B' on underside in one corner, '334' diagonally opposite corner.personal effects, containers, jewelry box, container, holly, ornate, metal

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

The Bendigo Caledonian Society is a social club for Scottish descendants still active today.Event program for the Bendigo Caledonian Society. Half fold design printed in gold, white, pink and light and dark blue ink on cream card. Embossed with scalloped edge on cover. Musical program listed inside. Front cover: Bendigo Caledonian Society / Welcome / to / His Excellency the State Governor / and / Lady Gibson-Carmichael / Town Hall / December 8th, 1908 / D. Andrew / Chief / A.C. Forbes / Secretary bendigo town hall, bendigo caledonian society, sir thomas gibson carmichael, lady gibson carmichael, governor of victoria 1908, bolton brothers printers, making a nation exhibition, councillor david andrew, city of greater bendigo events, city of greater bendigo community groups

From the home of Mrs Wilms. Large jugs were used in bedrooms to contain water for washing oneself. Many had a large basin underneath it too, but this one doesn't.Large white porcelain bedroom jug with pink and white flowers and green leaves. Fine gold lines are around the top and bottom of the jug and on the ornate handle. Numbers 2266 - 2 are painted underneath the bottom of the jug.2266 - 2 painted underneath the bottom of jugjugs, bedroom jugs, domestic object, functional object

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade dish, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.A large, eathernware dish, with a maroon ground and a mottled green and black glaze on the inside of the dish. The petals that form the floral design on the base are highlighted in a pink glaze. Each petal overlaps the rim. The artist's signature is on the base. Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), dishes, viola annie mcvicars, viola annie ayling

CEMA Art Collection Winner of 1962 Portland Artists' Society Prize for the category Painting. Included in the 1999 "Salvage" Exhibition at CEMA Arts Centre.The painting depicts several trees on a multi-coloured ground with mountains in the background. The trees in the foreground are linear and completed in shades of browns and pinks. The work has a white, gold and blue hand-painted frame with exposed canvas.Front: Werther '62 (bottom right, brown paint) Back: PORTLAND "DEAD WATTLES" 40 GNS FRANK WERTHER COTTLES BRIDGE VIC per MAYNE NICKLESS (white chalk) Red sticker: 32 Yellow sticker: 1962cema, portland artists society

Bendigo Amalgamated Goldfields Ltd., in account with Fred. Douglas Jones. Pink paper dated June 6 to Aug 7, 1924. Statement contains details of costs for sale of properties by auction on 27/6/24.the miss g. alice jones collection - statement, bendigo amalgamated goldfields ltd, mrs mcgibbony, t e thomson, t c watts & son, h e jones, mrs cramer, geo pethard, h e bruns, bank of australasia bendigo, fred douglas jones, mr bishop, collman & tacchi, mines department, koch's, great northern, city of bendigo, mr enticknap, garden gully mill, nicholsons, mrs bernau, miss hesse

Pink paper, blue printing, dated 24th Feb. 1900. Certificate for 100 shares issued to W.O. Lewers of Linton, by Oakleigh Gold Mining Company. Shares numbered 5401 - 5500. Certificate numbered 337.gold mining, mining, linton, oakleigh gold mining company, w.o. lewers

dior, exhibition, national gallery of victoria, ngv international, fashion, designer, gowns, dress, pattern room, 1970s, 1980s, pink

Collector says: I'm intrigued to know why this 1930s & 1940s fashion of blanket - with panels of stripes on each end - only came in the colours of pink, baby blue and mint. Over the years I gathered many 'panel' blankets with labels from over a dozen different mills and yet they are all in these 3 colours only.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized blanket with mint stripes Made Expressly for Mark Foy's Ltd/Sydney/The Laconia Blanket/Guaranteed Odorless and Free From Filling/Made in Australiablanket, blanket fever, wool, laconia mills

Collector says: I'm intrigued to know why this 1930s & 1940s fashion of blanket - with panels of stripes on each end - only came in the colours of pink, baby blue and mint. Over the years I gathered many 'panel' blankets with labels from over a dozen different mills and yet they are all in these 3 colours only.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized blanket, cream with mint stripesThe Walmer Blanket/Guaranteed All Pure Wool and Odorless/Made in Australiawool, blanket, blanket fever

Document. Greeting Cards. White, single card with blue shading & pattern cut edges. Top right corner has 'Motto for the Year' printed in gold. Large bunch of yellow daisies and blue/purple pansies. In the bottom right corner is printed in pink with the capital S red (fading to pink at the bottom) is 'Stand fast'. Blue scrollwork around and below the S. Printed in gold is 'Phil. 1.27. Along the bottom on the left is printed in grey is: London: The Sunday School Union, Ludgate Hill. On the right is: Printed in Germany.Printed in Germanyperson, greeting cards, malone collection, malone collection, greeting cards

A pink satin and cream machine lace bedspread made from alternative 13 to 14cm wide strips in a rectangular pattern with central rectangle set at 45 degrees. Three sides are edged with silk chenille bobbles in pink and cream. The central rectangle and the four corners surrounding the central rectangle have a floral cut work pattern in the silk overlaying the lace which has couched cornelli work.. The third satin rectangle from the outside has a looped and wave pattern in couched cornelli work, missing on one corner.favaloro, bedspread, satin, chenile bobble trim

George (Sarge) Westcott (born 1859) was the son of Charity Pink Medhurst and second husband George Charles Westcott. After Charity's death father George raised his son George and her son David Medhurst (born 1855). Sarge Westcott was awarded a police valour medal after saving a colleague in the line of duty.Connection to the Medhurst family of Greensborough.Digital copy of black and white studio photograph.Caption on back of photograph:"Sarge Westcott. Superintendent of police with Valour Badge for bravery."george westcott, david medhurst, charity jane pink

These items were owned and used by Alice Pow (nee McWilliam), known as Maccie. Maccie was a nurse who came to Orbost in 1936. She was highly respected in Orbost for her nursing skills particularly during the 1938 outbreak of polio, Most patients were cared for in their homes and Miss McWilliam was sent out to care for them. Over 14 months she travelled 9560 miles supervising their treatments. She eventually married Mr Hec Pow who had been left to bring up his three daughters after his wife died.. The Pows lived in Orbost where Hec Pow was worked with his father Fred at the saw mill in Cabbage Tree. Maccie Pow was a member of the Orbost Bowling Club, Red Cross and Orbost Golf Club.Three vase shaped pottery shakers. Each has a cork stopper i n the base and sprinkle holes on the top. They are pale green coloured to half way and the rest is pale green with pink flowers. The surface is dimpled. On the base : ANDOVER Made in Japanchina tableware shakers pow-maccie mcwilliam-alice

A small card at the back of the picture reads,’ This Picture was a teaching aid used in St. John’s Kinderg S.S and was found in the Church Ruins after the fire in July 1920 by Nancy McC(Absalom). Later framed by Grandma. St. John’s Presbyterian Church was built in 1875 and was burned down July 21st 1920. A volunteer fireman Mr T Spicer discovered the fire and despite the prompt arrival of the fire brigade, after an hour only the walls and tower remained. Some items were salvaged including vestry furnishings and church register. A bible which had been given to the Church in 1895 was rescued by an unknown young man whose identity remained a mystery until1976 when a Mr Stan Williams of Ballarat told his story. The Church was rebuilt in 1922. The event of this fire remains one of the most significant in the history of Warrnambool. Framed print of kookaburra on branch in natural setting. The bird is coloured blue, green and tan. Background is in muted greens. The light wooden frame is covered in fabric in pinks and green. A patterned metal edge sits atop the fabric. On back of picture, ‘ From Grandmother to Nancy on her 5th Birthday, Aug 20th 1920. This is a relic of the burning of St John’s Church July 21st 1920. Picked up by Nancy and framed by E Black.” warrnambool, st.john's presbyterian church, st john's fire warrnambool, st john's fire relic

This book belonged to Charles Rogers. Captain Charles Rogers was an Australian Army officer in the 4th Lighthorse Regiment. He was part of the mounted Guard of Honour during the visit of the Duke of Gloucester in 1934. The visit was part of Victoria’s centenary celebrations and the duke officially opened the Melbourne Shrine of Remembrance. Charles Rogers was well-known as a Warrnambool resident in the 1930s, 40s and 50s and was often seen on horseback leading parade and celebrations in the city. He as a long-serving Warrnambool Agricultural Show official as a judge of equine events. He died in 1961. This book is of interest, firstly as an example of a military handbook for cavalry officers and secondly because it belonged to Captain Charles Rogers, an army officer (Lighthorse regiment) who was a well-known resident of Warrnambool in the early to mid 20th century. This is a hard cover book of 198 pages. It has a yellow cover with black printing on the spine. Most of the pages are white, with several pink pages at the beginning and the end. The book has 13 chapters and an index. The cover is slightly worn.‘C.A.Rogers’captain charles rogers, warrnambool, military handbooks

Annual record of teaching staff, students and events that took place over the year by using both photos and reports. Headmaster / Principal - Mr. John Conway.A permanent record of who attended Greensborough College - both student and teacher in 2005 - includes photographs, articles and class photos.This edition of the Greensborough College yearbook includes a CD of photographs of events.96 pages, blue and pink cover, Title "Retrospective 2005" in black ink. Contains text, graphics and class photos. Cover illustration includes title and line drawings. Inside back cover is a CD of extra photos.greensborough college, yearbook, retrospective, school magazines