Bendigo Historical Society Minutes and Correpondence 2010. Stored in grey A4 document album with slip cover.

Bendigo Historical Society Minutes and Correpondence 2011. Stored in grey A4 document album with slip cover.

Bendigo Historical Society Minutes and Correpondence 2012. Stored in grey A4 document album with slip cover.

This account book contains the "Salaries passed for payment..." and details the salary for each staff member, number of classes taught, weeks worked, etc.This is a significant account of both the people teaching at Collingwood Technical School in the 1920s as well as an indication of the rates of pay at the time.Grey cloth-covered cardboard cover with red spine. Pages are ruled for accounts. Label on cover "Journal"Handwritten on cover label "Salaries"collingwood technical school, cts, salaries, teachers, account books, nmit,

This Advisory Committee deals with all aspects of training students and apprentices to work in the Boot Trade.Minutes dealing with all aspects of the boot and shoe industry.Hard cover ring binder covered in grey fabric. Includes both hand written and typed minutes.On spine of folder: "Boot + / Shoe / Adv.Comm / Minutes"collingwood technical school, cts, boot trade, shoe trade, boot and shoe advisory committee, nmit,

This item was designed to be worn with an academic gown, and was possibly worn by FJ Browne at University of Edinburgh.Hooded academic cape, with attachment for a standard academic gown. Red wool with grey grosgrain silk lining. browne fj, clothing

Grey/green patrol cap with National flag (gold star on red field) with white letters "VIETNAMvietnamese clothing

Grey Wooden Cross Bearing Photograph and Service Details Paul A Large. Joined 6.6.66 KIA 18.8.66Paul A Large 6 RAR 6.6.66 KIA 18.6.66wooden cross, paul a large, 6 rar

Print on wooden backing. Commemorative. Orange circle, grey cross, Vietnam map green and red 201650th Anniversary Battle of Long Tancommemorative print, battle of long tan

Born: Gisborne, New Zealand 1882; Arrived: Sydney, New South Wales, Australia 1883; Died: Sydney, New South Wales, Australia 1939Heidelberg SchoolGift of Mrs E.E. Ledger, 1975Rural farm landscape with wagon, animals and building. Gold patterned moulding with grey velvet insert frame.Recto: Signed "E. GRUNER" in black paint in l.r.c of composition; Not dated; Not titledpainting, rural, wagon, chicken, animals, wheel, fence, trees, farm, australian art

Born: Ballarat, Victoria, Australia 1864; Lived and worked: France and England 1890-1893, England, Wales, France 1897-1939; Died: Looe, Cornwall, England 1939VictorianGift of Mrs E.E. Ledger, 1976Harbour scene with large ships, smoke, a wharf, water and a grey sky. Gold brushed timber frame.Recto: Signed "Davies" in brown oil in l.r.c of composition; Not dated; Not tiltedpainting, seascape, ships, boats, smoke, industrial, dock

HMAS Sydney built by Swan Hunter and Wigham Richardson Ltd., Wallsend on Tyne, United Kingdom Launched 22 September 1934 Engaged and sunk Bartolmeo Colleom 19 July 1940. On 19 November 1941 South West of Carnarvon Western Australia she was lost at sea with all hands after engaging the German raider Kormoran. On 19 November 1941, HMAS Sydney, a light cruiser of the Royal Australian Navy with an impressive record of war service, was lost following a battle with the German raider HSK Kormoran in the Indian Ocean off the Western Australian coast. The loss of the Sydney with its full war complement of 645 remains Australia’s worst naval disaster. The Kormoran was also sunk, but 317 of its crew of 397 were rescued. The fate of the Sydney remains one of Australia’s greatest wartime mysteries; even the location of the wrecks was not established until 2008.Black plastic frame with moulded pattern with grey mount containing photograph of ship and Sydney Harbour BridgeBanner - HMAS Sydney HMAS Sydney built by Swan Hunter and Wigham Richardson Ltd., Wallsend on Tyne, United Kingdom Launched 22 September 1934 Engaged and sunk Bartolmeo Colleom 19 July 1940 Lost at sea with all hands 19 November 1941 South West of Carnarvon Western Australia after engaging the German raider Kormoran. hmas sydney, ww2

Rev. Thomas Staines Brittingham Woodfull (1863 - 1941). Born Maldon in 1863, but grew up in Prahran and attended the Punt Rd Church. Qualified as a pharmacist. Worked as a local preacher before being ordained in 1887. Appointed to Sandhurst in 1887 before being sent as Conference Evangelist to Tasmania, where he conducted missions. Married Gertrude Lily Abey (1872 - 1941) in 1891. Returned to Victoria in 1893 and served at Kerang, Maldon, Shepparton, Flemington & Essendon, Collingwood, Bendigo, Albert Park, Brunswick, Box Hill. Retired in 1930. Was active in the campaign against the Collingwood tote. President of the Methodist Conference 1923. Father of William (Bill) Woodfull, Australian cricketer of the 1920s and 1930s and Captain of the Australian First Eleven during the notorious "Bodyline" Test series.B & W waist length studio portrait of the Rev. T.S. B. Woodfull, mounted on grey card."Rev T.S B. Woodfull"thomas staines brittingham, gertrude lily abey, bill woodfull, president of conference, evangelist, methodist, minister, pharmacist.

Reverend John Kissack Arnold was a home missionary at Mansfield and was ordained in 1923 for Overseas Mission work. He was appointed to Drysdale, Newtown, Geelong, Yarram, Kyabram, Castlemaine, Kew and Moonee Ponds. He was born in 1895 and died on31 July 1955.B & W head and shoulders studio portrait of the Rev John Kissack Arnold, mounted on grey card.Rev. J.K.Arnoldrev john kissack arnold, home missionary, methodist, overseas mission

This book was used in pencil drawing classes in primary schools.A book with a grey cover and black lettering and drawings. It was used as a drawing book with a pencil drawing on the first page.Top LH corner written in pencil "PHILLIPA WHITE"white, phillipa, primary school, teaching, state education, george evans collection

Rural City of Wangaratta Collection, Wangaratta Art Prize 1990.An oil landscape of gums and grass trees painted with a colour palette of green, yellow, brown, blue, and grey.E. MICHEL 90/ (bottom right corner) GRAND WINNER 1990/ ELLEN MICHEL/ 'Summer In The Warbys'/ (plaque mounted on frame)wangaratta art gallery, ellen michel, landscape, painting, warby ranges

Rural City of Wangaratta Collection, Wangaratta Art Prize 1987.A landscape of a lake scene, painted using oils in a colour palette of green, blue, pink, brown, and grey.Obverse: Wykeham Perry 87/ (bottom left corner) WANGARATTA ART SHOW/ GRAND WINNER 1987/ (plaque mounted on frame)wangaratta art gallery, wykeham perry, landscape, painting, coastal

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile