Blueprint of part of a "David Sowden and Sons" 4x4 Drop Box Loom. It was among items from Yarra Falls Mill.Blueprint of part of a "David Sowden and Sons" 4x4 Drop Box Loom.SOWDEN'S PATENT 4X4 DROP BOX LOOM/WITH OPEN SHED DOLBY T & I H /Kent GWNtextile machinery weaving, yarra falls mill david sowden & sons, weaving looms, weaving machinery, textile machinery, weaving

Printed illustration contained within Reg. Item 2526, page 39 of Mr. P.J. Pringle, ESCo Manager in the 1920's. Has been cut and pasted into the book. Note Item Not formally Numbered.In Pencil under the illustration "The Late Mr. P. J. Pringle. I have a good reference from him."trams, tramways, ballarat, esco, managers

Black and white photographs. Unidentified Student Year Group(1) "Group Photo of Diploma I." (2) "Dip II." "Photograph by Information Branch Victorian Department of Agriculture."students, student year group

OIL PAINTING OF A BANK BUILDING IN A BROWN WOODEN FRAME WRITING ON TOP OF THE BUILDING "GOLD OFFICE BANK AUSTRALIA"ON BACK PRINTED: "VANGUARD i CANVAS PANEL SIZE 8X10 ARTIST (IN INK) AUDREY CRAWFORD - DATE ILLEGIBLE"audrey crawford, oil painting, joyce patterson

Four copies held - second copy has been hand cleaned and polished.Demonstrates a MMTB sign advising passengers not to alight on the wrong side of the tram.Sign - engraved brass sheet, with black lettering and lining on the outside and screw holes in each corner with the words. "To stop car pull left hand cord ONCE / Entering or leaving this car from the wrong side is prohibited. Maximum penalty L5." L = pounds copy 1 - Scratched into rear "I 3" Copy 4 has a label on the rear "Ex W2 268".trams, tramways, signs, tramcars, tramways, passengers

The Athletics Club under the guidance of a committee of workers, which included Mr Stan Hemmings and Mr Alec McCullough, sponsored a Junior Athletics Club which became the Gray-Y Club for young boys and HY-Y for older lads. Mr A E Clark (YMCA) had the idea of adopting the American Gray-Y System which was to instill in the boys good principles and values similar to those of the service clubs i.e. YMCA, the Masons and Buffalo Lodge. Story has it that the town was virtually crime free for many years. The Athletics Club became a very powerful force in Mount Beauty and assisted other fledgling groups to get started. The committee had the bright idea that they could raise money and entertain the men who lived in the outlying camps by running sporting exhibitions by their members and the Gray-Y boys for entertainment.It is a connection to the early history of Mount Beauty regarding the start of an athletics club.Blue material banner with gold fringe and inscription in middle.Red material triangle inserted within banner and red material H and I (overlapping) sewed into the middle of the triangletextile, youth club, mt beauty, athletics club, gray-y club, kiewa hydro electric scheme

Identity Discs detailing name and No., Unit & Nationality - often called dog tags.Set of 3 Identity discs, hard leather. 1. 8 sided with two holes, dark brown. 2. Rounds, reddish brown in colour - one hole. 3. 8 sided grey brown in colour, two holes. All joined with a piece of knotted string.Stamped on discs, the following; 1. G B Jackson, 2172, O.E., I Aus, I.M.T. Coy. 2. G.B. Jackson, 2172, O.E., 1 Aus, M.T. Coy. 3. Jackson G., DP, A.M., 2172, I AUS, D.S. Coy.passchendaele barracks trust, dog tags, g. b. jackson

The Royal Society of Arts, Manufactures and Commerce (RSA), founded in 1754 as the Society of the Encouragement of Arts, Manufactures and Commerce, incorporated in 1847, is a London-based organisation committed to finding practical solutions to social challenges. It is frequently called the shorter name (The Royal Society of Arts) and the related RSA acronym. This certificate informs Robin Boyd that he has been elected Fellow of this society. In 1963 the RSA president was His Royal Highness The Prince Philip, Duke of Edinburgh, K.G.A certificate with crest of the Royal Society, signed by The Secretary.11th March 1963. Sir, I have the honour to inform you that you were this day elected a Fellow of the Royal Society for the Encouragement of Arts, Manufactures and Commerce. I am, Sir, Your obedient Servant. A certificate with crest of the Royal Society, signed by The Secretary.

Writing on Card Eileen married Martin Cahill in 1920 Ref Thomas Kinsella History & Family No 6052 Page 1.B/W photo of young woman in Red Cross uniform with letter on back of postcard. Image faded out on edge.Heaps of love and good wishes for the coming year to you all from Eileen. Xmas 19 5 Princes Square London W I dont thing i sent you a photo before so will send one now. We are going ??? in January. ww1

SEND TO MISS McGOWAN FROM MISS E.A. MATHEWS. 1910.1 POSTCARD OF INTERIOR OF ST. PAUL'S ANGLICAN CHURCH, CLUNES. - HARVEST FESTIVAL .2 A PHOTOCOPY OF THE P0STCARDST. PAULS CLUNES. ON A POSTCARD: MARCH 25TH 1910 DEAR MISS MCGOWAN. I RECEIVED YOUR PRETTY POSTCARD FOR WHICH MANY THANKS. IT CAME ON A VERY HOT DAY, AND I WAS WISHING I COULD HAVE BEEN NEAR THAT WATER. THIS IS THE LATEST PHOTO OF THE INTERIOR OF OUR CHURCH DECORATED FOR THE HARVEST FESTIVAL. WE ALL ARE QUITE WELL, WITH LOVE FROM MY SISTER AND SELF. YOURS SINCERELY E.A.MATTHEWSlocal history, document, postcard, churches - st. pauls anglican

Arthur Baillieu, manager of the Talisman GMC of Craigie and Carisbrook wrote to Fred Martell, Registrar of the Ballarat School of Mines, concerning the disposal of gold sent to the Ballarat School of Mines for treatment.A handwritten letter written by Arthur Ballieu, with purple letterhead from 'The Talisman Gold Mining company, No Liability'. Hand written on page " 19th May 1898, F.J. Martell Esq The School of Mines, Ballarat Sear Sir, I am in receipt of an a/c from you date 13th inst for 7 pound 8 shillins, which I cannot understand. I already hold your receipt for the treatment of te 5 1/2 tons of quartz, the only charge against the coy at present is 10 shillings for your assay on the 6th inst. Awaiting your reply I am, Dear Sir Yours faithfully Arthur S. Ballieu Manager [inpc?] gold, ballarat school of mines, fred martell, fj martell, talisman gold mining company, arthur s ballieu, arthur ballieu, craigie, carisbrook

Hand written inside. "Murray, I will never forget you, how are you? I hope you are always well! My regards to your mother. I hope to one day see you again in V.Nam. Sister Augustine". The card relates to Geoff Murray No 3411521, 3 Cav Regt Vietnam 27.11.67 to 22.10.68, Survey Corp Vietnam 15.10.69 to 15.10.70. On his 2nd tour with Survey Corp Geoff procured a lot of food etc for the Baria Orphanage. Refer 610.2P, 611.8, 1866.3 re the Orphanage and Sister Augustine also 638P.Christmas card with river scene painted on front. .1) Heavy card outer pages. .2) Fine tissue paper inner pages..1) "Greetings" .2) "Merry Christmas and Best Wishes for a Happy New Year"cards, xmas, vietnam

This work was completed during Harper's Laughing Waters residency at Boomerang House, 2001. The Laughing Waters Artist in Residence Program was run by Nillumbik Shire Council (in partnership with Parks Victoria) 2001-2015. "My painting is about colour and form, and their relationship. I am interested in what one colour does to another colour, the weight of a colour and the feeling of a colour. Colour is very complex; I am looking and responding to what I see and what interests me." Melinda Harper in Artist Profile journal article by Melissa Pesa, 2015.The painting is representative of Harper's artistic practice and the vivid colours and abstraction particular to her work. Small-medium sized oil painting of vivid, bold, coloured shapes arranged in a kaleidoscope pattern. There is an array of colours each placed in proximity to each other to create a vibrant, lively atmosphere. Anna Schwartz sticker on back of canvas. harper, untitled, 2002, contemporary, laughing waters, boomerang, abstract

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "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 cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "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, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "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 multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

Donated by artist Tamlyn Teow in 2015, the multi-textured picture portrays two figures dancing together. From the artist: "The Dancers" was an inspiration that came to me when I closed my eyes to listen to a musical track and wondered what it would be like to be blind. Then I recalled a conversation I once had with a man who was born blind and he described the city to look like "a big lake flowing in between buildings of all different shapes and colours. And bridges for people to cross just to see sunsets glisten against the water".1 art original on canvasvision australia, artwork

"Miss Fred Whitlam is the moderator-elect of the NSW synod, a former principal of Pymble Ladies College, she is a lay preacher, elder and member of the NSW synod board of Social Responsibility. After the ballot she told synod: 'With my name I was sure I would not be elected.' Gough Whitlam is her brother."Whitlam is shown standing in a garden, facing the camera.C&N identification.whitlam, freda, nsw synod moderator-elect

Bonnie Fagan's County is Wadawurrung. Most of her early learning about her Aboriginality came from the father.Aboriginal dot painting telling the artist's learning journey. Bonnie Fagan wrote of this work: "Ochres reflect my connection with the land of my traditional Wadawurrung Country. Yellow ochre forms the background and white ochre defines my pathway, showing where I have traveled from my past and where I am heading in my future. I use reddish ochres for the larger dots along my pathway to show my footprint and for the smaller dots that ripple outwards to show how I've had some influence, either good or bad. The white lines show my pathway with an entry point from my past marking the start of my journey, a middle part showing were my life will continue. Through the middle part, my teenage years, the pathway is very windy. These years were sometime quite difficult and I struggled. The two circle areas symbolize two chapters in my life, first as a child and then as an adult, when I've felt mostly positive and safe. They are periods when I've been very open to learning, gathering knowledge from people and experiences that I trusted, and the circles within the circles symbolize the layers of support, of experience, of connection and of learning that I experienced. Strong visual symbols at the base of the painting under the first circle area represent the key figures in my learning through my childhood: my father (represented by the traditional symbol, of a man with a spear) and my mothers with me as a small child, The spirit of my paternal grandmother, my Nan, hovers above my childhood circle and near the pathway through to my teenage years, showing the strength of her influence and how she was always there guiding me." (Robyn Brandenburg and Jacqueline Z, Wilson [Eds] Pedagogies for the Future: Leading Quality Learning and Teaching in Higher Education, Sense Publishers, The Netherlands, 2013, pp40-41)bonnie fagan, bonnie chew, wadawurrung, artists, artwork, aboriginal

Tells the story of five survivors of World War I who suffered from shell shock.174 p., illus. Hard cover.world war i, shell shock

The letter was written by Allen Quinn to his mother. Allen started working as a seafarer when he was 16 years old, and frequently wrote to his mother during his travels. He also created an extensive photograph collection, which corresponds with the letters.The letter is part of an ongoing correspondence between Allan and his mother. In this letter, Allan talks about his 18th birthday, a trip to Stockholm and the ship he was on.Letter addressed to Mrs S. Quinn, "Sanlorenzo", 63 Ocean Beach, Manly, N.S.W, Australia, in three parts. Part 0155 Envelope Part 0155.1-2 Letter Pages. The letter pages are tissue-like air mail paper. The letter begins "My Dear Mum, Well I am now eighteen..." and concludes with "P.S Fancy Norm (indecipherable) shall write him." In the top right hand corner is "M/I Ariston, At Sea" and id dated 5/7/46. In the top left hand corner of both pages is the SkyMail logo.Front of envelope: MRS. S. QUINN / "SAN LORENZO"/ 63 OCEAN BEACH / MANLY N.S.W / AUSTRALIA handwritten in black ink. in the top right hand corner are three Swedish stamps, with two stamped postmarks: GOTEBORG 1 / 30. 4 / 46 / *.allan-quinn, letter, handwriting, stockholm, birthday

The photo was taken in 1990 at the official opening of Pacific Maltings in Gregory Street West, Ballarat by Premier of Victoria the Hon. John Cain. Group portraits of 14 men on a footpath next to a brick building. Most of the group are brewing students at Ballarat University College. I. Kerr (Brewing Student) R. Vickers (Brewing Student) G. Vincent (Brewing Student) S. Page (Brewing Student) G. Hughes (Brewing Student) S.T. Williams (Brewing Student) T. Gaffney (Brewing Student) Neville Gower (Lecturer in Brewing ) G. Fox (Brewing Student) Premier John Cain I. Richardson (Lecturer in Brewing) L. Cormie (Brewing Student) P. Vawdrey (Brewing Student) J. Armstrong (Brewing Student)i kerr, r. vickers, g. vincent, s. page, g. hughes, s.t. williamst. gaffney, neville gower, g. fox, premier john cain, i. richardson, l. cormie, p. vawdrey, j. armstrong, pacific maltings, s.t. williams, t. gaffney

Bendigo Advertiser '' The way we were'' from 2002: Leaders: Lodge No. 52 Centenary officers - Back: R. G. Barby, V. J. Simpkins, I. L. Arbuckle, C. G. Watson. Middle: A. J. Ermel, J. C. Campbell, J. C. Chamney, A. E. Mallalieu, G. McCormick, R. C. Watt, A. H. Johnson, F. R. Boys. Front: N. J. Oliver, J. V. Horton, I. M. Campbell, E. H. Bush, R. L. Campbell, G. K. Allen, R. J. Longstaff. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Black and white photograph of winners of Advertiser trophy for Football 1969, Golden Square School, with names, under glass in timber frame. Back row: P. Brooks, P. Dunstone, K. Smith, S. Noye, G. Collier, G. Stanford, P. Stanistreet. Middle row: G. Lowe, R. Ervin, I. Neivandt, D. Munari (Coach), P. McConville, M. Doney, T. Potter. Front row: T. Blaufhus, D. Trickey, N. Claridge, C. O'Hara (Capt.), G. Whitlock, P Fahy, I Symons, N. Cramerbendigo, education, golden square school

Copy of photo: image shows small aeroplane, in front of brick residence. Written on sheet: 'a small aeroplane of 'rare design' built up in the loft above the stables barn at the rear of the old Girton College, now part of the new Girton assembly hall. The builder was a Mr. Alan Manare - a boarder at 'Craigmore' As far as I can remember the aircraft made only a few short flights. I never heard of its eventual fate. The photo of the plane is taken on the High St. side of 'Craigmore' outside the builder's room.' Photo C. 1941. Copied from Q.C. Binks, photo.bendigo, girton, craigmore, binks

A MacGregorTourney-I tennis racquet, with string whipping around shoulders and throat, leather handle grip with X-formation perforations, and, two steel golf club shafts between the wooden head and handle, acting as the shaft. MacGregor logo features across throat (with gold crown device), top of handle, and plastic butt cap (with 'M' trademark). Model name features across base of racquet head, flanked by two gold crown devices: -COURT- TOURNEY-I -SUPER-. Materials: Wood, Leather, Nylon, String, Ink, Glue, Lacquer, Metal, Fibreglass, Painttennis

A MacGregorTourney-I tennis racquet, with string whipping around shoulders and throat, leather handle grip with X-formation perforations, and, two steel golf club shafts between the wooden head and handle, acting as the shaft. MacGregor logo features across throat (with gold crown device), top of handle, and plastic butt cap (with 'M' trademark). Model name features across base of racquet head, flanked by two gold crown devices: -COURT- TOURNEY-I -SUPER-. Materials: Wood, Leather, Nylon, String, Ink, Glue, Lacquer, Metal, Fibreglass, Painttennis