Frances 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 buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic 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 tin 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.A postwar fundraising button featuring a simple design using white text in a red boarder with and central blue cross. In February when the buttons were sold, The Argus reported that: ‘Each suburban municipality has formed a committee under its mayoress, to assist in the button distribution, and local committees in the country are also working for the success of the appeal. Kiosks are prohibited in the city streets, but many suburban councils have granted permission for their erection. In addition to buttons, many kinds of saleable articles will be obtainable at the kiosks.’"Women’s Hospital Appeal 1923"royal womens hospital, fundraising buttons, badges

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A commentary about the La Trobe Cottage and a catalogue of its contentsla trobe's cottage, charles joseph latrobe, governors of victoria

Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Original sample of nineteenth century wallpaper from one of the earliest homes in Kew (Victoria).Wallpaper fragment from ‘Reno’. These two samples of light brown Victorian-period wallpaper were overprinted with flowers and leaves that are outlined in maroon. Flowers and foliage are painted in blue of varying intensity, giving the impression of being hand painted. The style of this wallpaper would have been suited to a bedroom or drawing room.wallpaper, samuel cocking, reno, st john's parade, kew

Sydney : Ure Smith, 1966 104 p., [40 leaves] : ill. ; 29 cm. non-fictionSydney in 1848 : illustrated by copper-plate engravings of its principal streets, public buildings, churches, chapels, etc. Originally published in 20 parts in 1848-50. First published in one volume in 1878.--Publishers' note.joseph fowles, sydney - history, sydney. description & travel. early works

A report in the Ballarat Star on 8 May 1901 recorded that: "THE CONVERSAZIONE. A GREAT SUCCESS. The conversazion given by the Government of Victoria at the Exhibition was very largely patronised. the guests includ ing the Prime Minister and a goodly proportion of the distinguished personages now in Melbourne. A programme of high-class music was gone through, and refreshments were served during the evening. Australian wines were very prominent."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned and displayed by Mrs Grace Tabulo, the owner of 'Fairyland', 57 Malmsbury Street, Kew.Colour lithograph mounted on card to an evening event, a conversazione, held in the Exhibition Building on the evening of Tuesday 7th May 1901, as part of the Australian Commonwealth Celebrations. The Government of Victoria hosted the event. The invitation shows an etching of the Exhibition Building, surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess, views of Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart, and native flora (including wattle, waratah, pink heath, Sturt’s desert pea, and flannel flower), and native fauna (kookaburra, possum, lyre bird, cockatoo and koala). The royal crest ‘Dieu et mon droit’ and the Australian crest, ‘Advance Australia’ are also included.Printed front: UNITED AUSTRALIA 1901 / ONE FLAG / ONE HOPE / ONE DESTINY; AUSTRALIAN COMMONWEALTH CELEBRATIONS / THE GOVERNMENT OF VICTORIA requests the honour of the presence of / [name deleted] / at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 P.M. Reverse [handwritten]: Mrs G. Tabulo, 57 Malmsbury St.sands & mcdougall ltd, documents - invitations, first commonwealth parliament 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the verandah of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the a doorway of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the verandah of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the grotto in the garden of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the former summerhouse in the garden of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the garden of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the former summerhouse in the garden of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Partial view, north side of the weatherboard cottage in St John's Parade, Kew, known as 'Reno' (demolished 1977). Architectural elements revealed in this photo by John T Collins include: two wing, hip roof construction; external buildings at angles to main wing; corrugated iron roofing [over shingles]; brick chimney external to building; unvarnished/unpainted external weatherboards. General dilapidated condition. "Kew 'Reno' 10 St Johns Pde / John Collins, 11 Anderson Road, Hawthorn East, 3123, Film 35B Exposure 27"reno - st john's parade -- kew (vic.), john t collins

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Partial view, side of the weatherboard cottage in St John's Parade, Kew, known as 'Reno' (demolished 1977). Architectural elements revealed in this photo by John T Collins include: hip roof construction; corrugated iron roofing [over shingles]; unvarnished/unpainted external weatherboards; Externally opening 1860s-style casement window. General dilapidated condition. "Kew 'Reno' 10 St Johns Pde / John Collins, 11 Anderson Road, Hawthorn East, 3123, Film 35B Exposure 26"reno - st john's parade -- kew (vic.), john t collins

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Side of the original, relocated summer house of 'Reno' at 10 St John's Parade, Kew, (demolished 1977). Architectural elements revealed in this photo by John T Collins include: four-sided construction; trellis and weatherboard walls; corrugated iron roofing. Re-use as woodshed. General dilapidated condition. "Kew 'Reno' 10 St Johns Pde / John Collins, 11 Anderson Road, Hawthorn East, 3123, Film 35B Exposure 24"reno - st john's parade -- kew (vic.), john t collins

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 12 New Series; Pink Cover; Size 29.5Hx14.5W; 24 pagesdeaf newsletter, vicdeaf newsletter, australian deaf newsletter,sidney weetman, blackburn, farm and home, mr and mrs e. j. d. abraham, mr and mrs j. e. muir, m. l. miller, henry harrison brown, beech forest, mr hood, washington state school, olaf hanson, ella wilcox, e. cork, the manchester conference, french national conference,

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 13 New Series; Size 29Hx14W; 24 pages (2 copies)deaf newsletter,vicdeaf, newsletter, deaf and dumb newsletter, alice butteridge, lone hand, c. a. jeffries, adult deaf and dumb society, lake park, blackburn, victorian deaf and dumb institution, ernest j. d. abraham, mrs abraham, miss a. graham, our monthly letter, victorian deaf school lacrosse club, adult deaf cricket club,f. j. rose, john jennings, matthew robert burns, henry weedon, agar wynne, w.s. keast,r. solly, e. r. peacock, h. sumner martin, harold kent, g. g. mercy, w. a. dickens, hugh munro, m. l. miller, mr mcbride, dr mccallum, young men's club, sol moss, oriana, eustace miles, robert p. macgregor, world's congress of the deaf, b. f. austin

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 16; Pink Cover; Size 29Hx14W; 24 pagesdeaf newsletter, vicdeaf newsletter, australian deaf newsletter, deaf and dumb newsletter, deaf and dumb society of victoria, ernest abraham, h. sumner martin, r. j. oehr, harold kent, adult deaf lacrosse club, our monthly letter,

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.Pink Cover 29cmHx14cmW, 24 pagesdeaf newsletter, vicdeaf newsletter, australian deaf newsletter, deaf and dumb newsletter, deaf and dumb society of victoria

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 1 New Series; Pink Cover; Size 29cmHx14cmW; 24 pagesdeaf cyclists, asylum, burnside, beale, blackburn, flower farm, lake park, xmas rally, new south wales, queensland, james lovett, nellie favison, athur renwick, thomas simpson, western australia, south australia, ostock, barrett townsend, iddleby

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.No. 7; Pink Cover; Size 29Hx14W; 24 pagesdeaf newsletter, vicdeaf newsletter, australian deaf newsletter, deaf and dumb society of victoria, deaf and dumb newsletter, new zealand school for the deaf, hon r. seddon, ernest j. d. abraham, l. miller, a. c. muir, mr and mrs burke, tasmanian school for the deaf, harold gregory, adult deaf and dumb building, samuel gillott, e. newbigin, h. sumner martin, councillor weedon, ernest r. w. smith, e. a. starcke, thomas bent,

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australasian Deaf.No. 3; Pink Cover; Size 28Hx22W; 16 pageshelen keller, ernest abraham, m. miller, j. charles, r. k. beattie, j. anderson, g. stubbs, j. mclean, j. e. muir, w. p. muir, w. a. patterson, r. h. luff, j. dempsey, e. r. w. smith, e. burke, f. e. frewin, l. downes, g. mortimer, a. c. muir, mrs frank frewin, mr and mrs i. a. tenney, melbourne deaf mute cricket club, deaf young men's mutual improvement society, m.miller, young women's society, mrs j. e. muir, miss a. foster, mrs luke, mrs a. wilson, mrs j. martin, captain olden, rev h. kelly, mr hood, mr williamson, john e. muir, w. p. monahan, thomas h. monahan, mrs leslie downes, new south wales institution for the deaf and dumb and blind, g. a. f. lentz, thomas pattison, australian deaf and dumb congress, matthew l. miller, blind deaf and dumb institution in queensland, tasmanian school for the blind, deaf and dumb, western australian school for the deaf and dumb, south australian institution for the blind, deaf and dumb, j. a. gibson, c. hawkins, mr showell

"The Gesture" was an independent organ of the Deaf and Dumb having no direct connection with any single organisation. Its aim was to help all agencies established to promote the advancement of the Deaf and Dumb. The aim was to be the "Voice" of the Deaf and Dumb of Australasia". To educate the public as to the real condition and needs of the afflicted brothers and sisters, to bring prominently before the hearing and speaking community the peculiar difficulties and obstacles that Deaf Mutes have to encounter in the battle of life. The magazine was named "The Gesture" with the single object of impressing upon the minds of the hearing friends the uncontrovertable fact that whatever the system of instruction the Deaf Mute invariably resorts to the manual alphabet and the language of gesture as the only expedient means of communication with those similarly afflicted.The "Gesture" is significant as the first national newsletter of the Australian Deaf.Printed Cover, Size 28Hx22W, 16 pagesernest abraham, rev h. r. haweis, dean parkyn, samuel johnson, south australian institute for the deaf and dumbw. h. bostock, william townsend, sir john colton, sir e. t. smith, a.c. w. cox, parafield, miss clifford, mr gregory, c. h. goode, d. nock, w. herbert phillips, mr angas, james a. gibson, ballarat, maffra, sale, bairnsdale, warragul,

2_1952 - 1. Reg Rudd founded the City of Heidelberg Repertory Group. It was a breakaway group from the Heidelberg National Theatre, which is believed to have been active in the district from the 1930s. It is understood the Heidelberg National Theatre folded in the late 1950s 6_1952 articles2 - Cuttings, including articles advertising first meeting of the City of Heidelberg Repertory Group on the 1st February, 6_1952 articles7 - Article reporting on AGM held in February, 1953 with Cr F. Boyd presiding, when comprehensive reports were read by Mr Reg Rudd, the director, the financial report was presented by Mr Mel Morgan. Photocopies of original articles from Theatrecraft and other unidentified newspapers1952, htc general memorabilia

The first British designed and made Centurion tanks arrived in Australia in June 1952. The first tanks went to the 1st Armoured Regiment, but as more tanks became available armoured regiments of the Citizen Military Forces received replacements for their aging General Grant tanks. The Centurion was a great improvement on the Grant with a bigger gun and the ability to fire accurately while moving. Serving soldiers of regiments such as 8th/13th Victorian Mounted Rifles were converted to the new tank and National Servicemen received full-time training while at Puckapunyal. In February 1968, C Squadron, 1st Armoured Regiment, equipped with Centurion tanks was sent to Vietnam. This tank No 169073 was one of the twenty tanks which served in Vietnam. There were many doubters about the likely usefulness of the Centurion in the jungle and paddy field environment of South Vietnam. How would this very large tank perform? No one needed to have worried. The tanks performed magnificently and were treasured by the infantry with whom they operated. ‘Tanks save lives’ was the catchcry. Several Reserve officers were attached to the Squadron in Vietnam including Colonel John Neale and Major Gordon Cole. Following the Australian withdrawal, the tanks were refurbished and issued to Army Reserve regiments for training. Our tank was allocated to 8th/13th Victorian Mounted Rifles. Together with the tanks came a crop of Regular Army Cadre staff and training reached a new peak. When the Centurion was superseded by the Leopard surplus vehicles were allocated to museums and regimental collections as trophy vehicles. Black and white photograph of Centurion Tank No. 169073 at Buna Barracks, Albury, home of 8/13 Victorian Mounted Rifles 1988.centurion, tank, buna barracks, albury, vmr

D. Williams Auctioneer Stawell - Badge Victorian National Resources See Australia First - Train Tour No 15stawell

Doris Lilian Wright of 214 Union Road was a milliner but joined the Australian Women's Army Service (AWAS) in the early war years. The Women’s Australian National Service (WANS) was inaugurated in 1940. Training for members of the WANS included air raid drills, first aid, basic military drills, and even shooting, signalling, and mechanics. AWAS on formed on 13 August 1941 with the objective of releasing more men into forward areas. The Army was particular with its recruiting and four references were required; another stipulation was that teeth were in good condition. Doris was located at Elwood. Their training area was along the foreshore and one day to their great surprise there were crowds of American Marines – "the cream of the American Army". These were the first Americans to arrive in Australia to strengthen the defence of the country. The Americans soon went north and the AWAS went off to Balcombe on the Mornington Peninsula. At this time there were no uniforms for the girls only ‘giggle’ dresses – of a non-descript colour. They were not expected to appear in public in these and wore civilian dress. Japan had just entered the war and there were more urgent demands on restricted supplies. The formal uniforms eventually arrived.A black and white photograph of a lady in an army uniform and wearing a hat.union road, surrey hills, uniforms, clothing and dress, (miss) doris wright, australian women's army service

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull