Printed book. 112 pages in total. Pages 13 -64 numbered.non-fictionPublication details: 'Railway guide book and time table for Melbourne, Ballarat, Adelaide and all intermediate stations, also gazette for Bacchus Marsh, Ballan, Melton, &c., and almanac for 1891', compiled by Christopher Crisp. Printed and published by Crisp and Lane, Bacchus Marsh, Vic., 1891. SUMMARY OF CONTENT: Includes detailed timetables and schedule of fares, descriptions of stations and refreshment facilities pp.6-26; overviews of Shires of Bacchus Marsh, Ballan and Melton, pp.27-30; historical, geographic, and economic background notes about places on the Melbourne to Adelaide route, pages 31-64, including descriptions of Bacchus Marsh, pp.34-42 and briefer notes on Ballan, pp.42-43 and Melton, pp.32-33. Almanac section is pp.65-95 (not numbered), containing common information in nineteenth century almanacs such as a calendar of the days, weeks, and months of the year; a record of various astronomical phenomena, climate information and seasonal suggestions for farmers, the rising and setting times of the Sun and Moon, dates of eclipses, hours of high and low tides, and religious festivals. A brief history of Irrigation in Mildura is on pages 1 and 112 (first and last pages). Advertisements, mostly for Bacchus Marsh businesses are on pp.96-111. The Almanac section is illustrated with drawings of scenic views of various places in Australia, but none of the Bacchus Marsh region. Online access is available on Trove at: http://nla.gov.au/nla.obj-392504046railways, railway lines, almanacs, railway lines timetables

A silver trophy with missing handles on a plastic trophy standBallarat Begonia Festival Highland Gathering 1968 Best Drum Corps Grade 2 1968 Pipes and Drums 5 RVR 265 rvr, 5/6 rvr pipes and drums

Begonia Festival Highland Gathering 1956RP5/6-00074Begonia Festival Highland Gathering Band contest 2nd Prize B grade.V.S.R Pipes & Drums 19505/6 rvr, begonia festival highland gathering, v.s.r pipes & drums 1956

Coloured photograph of a section of the Canterbury History Group's stall at the Seniors' Health and Wellbeing Festival, Hawthorn Town Hall 8 October 2009canterbury history group, hawthorn town hall, city of boroondara, seniors health and wellbeing festival, festivals and celebrations

This programme dates from 1948 when the Mortlake Citizens' Band held a Massed Bands Recital in Mortlake. A number of bands from the South-West region of Victoria participated with the event comprising of a March and various massed bands items. The programme is extremely detailed as to times bands were playing and also includes an amount of advertisements for local Mortlake businesses.This small programme is significant as it shows how a country town held a massed bands festival and hosted regional brass bands. It is also significant as it shows the amount of local businesses who advertised in the programme, and what kinds of businesses they were. This was obviously a major event for the town and the local band, and it appears that it was a success.Programme printed on paper with a card cover.There are some inscriptions and corrections in the programme primarily on the brief history of the Mortlake Citizens' Band.hamilton, terang, warrnabool, colac, camperdown, port fairy, mortlake, victorian bands' league

This small program was produced for a Massed Bands event held at Elsternwick Park on the 14th of September, 1952 involving brass bands from all over Metropolitan Melbourne and one band from Geelong. Held under the patronage of the Victorian Bands' League, this event involved bands marching from Elsternwick Station to the oval, and then performing a selection of items either on the march or in massed band format. The event was adjudicated by Mr George Harris with trophies awarded to various brass bands. The Massed Bands event was held to raise funds for the Caulfield Citizens' Band who had recently lost their band room due to fire.This little program is of significance as it highlights a typical brass band event in Metropolitan Melbourne. These programs are rare and it indicates the popularity of them and the range of bands that would travel long distances to participate. In a dual purpose, this event also raised money for the local band and was obviously a highlight for the municipality. A small program printed on paper.caulfield district band, city of caulfield, victorian bands' league, caulfield citizens' band, williamstown city band, essendon citizens' band, ringwood citizens' band, malvern municipal band, geelong city municipal band, brunswick city municipal band, prahran city band

This apron was made by Theresa Dunn (néé Wallis) of Breakaway Creek, Victoria. Born in 1912, Theresa came from a farming family and left school at the age of 14 following the death of her mother to help care for her younger siblings. Well known for her needlework, Theresa and her sister Eileen exhibited widely and later judged work for Victorian and interstate needlework competitions. Sticklers for perfection, they were known to always look at the back of the work first. In 1935 Theresa married Allan Dunn. This apron formed part of her glory box; a collection of items saved in preparation for married life. Never used, it was donated to the Ballarat Apron Festival in 2017 by Theresa’s daughter. Made by Theresa Dunn of Breakaway Creek in the 1930s, this apron reflects early-20th century ideals of thrift and resourcefulness that were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Part of Theresa's glory box, this apron is in immaculate condition and is an example of depression era clothing and resourcefulness. Sugar bag apron (circa 1930s) Ballarat Apron Festival collection Until the mid-20th century concepts of thrift and resourcefulness were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Colonial Sugar Refining Co Ltd. Pure Cane Sugar 70lbs. Melbourne 1A

This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron

Doncaster and Templestowe March 16 and 17

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis’ photograph Malcom Fraser, VFL Grand Final 1979 we see a young supporter shake hands with Liberal Prime Minister, Malcom Fraser. In the grand Australian tradition, politicians and PMs are active in the football sphere. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis capturing the nations love of the game. Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive