The memorial grave was dedicated on 16 April, 1899. Following the 150th anniversary of the arrival of the barque, descendants of John Craig and other "Glen Huntly" passengers restored the memorial. Descendants gathered in 1992 for the unveiling of a plaque marking the restoration.Colour photographRear of each photograph: SK Cemetery 1992 Glenhuntly Descendants. Inscription on memorial: On December 13th 1839, the emigrant ship "Glen Huntly" left Greenock, Scotland and arrived in Hobson`s Bay on 17th April 1840. Many of the passengers suffering from fever were landed at the Red Bluff St Kilda on 24th April 1849. That being the first quarantine station in Victoria. A few days later John Craig James Mathers George Armstrong succumbed to the disease and were interred at The Bluff. Owing to the encroachment of the sea their remains were exhumed and removed to the St Kilda Cemetery on 27th August 1898 by the Board of Public Health.This memorial was erected by public subscription, to mark a notable event in the early history of the colony. Inscription on plaque, unveiled in 1992: This memorial grave was restored by descendants of John Craig and of other "Glen Huntly" passengers. In April 1990 they commemorated the 150th anniversary of the arrival of the barque in Melbourne in 1840. 25th August 1991st kilda cemetery, glen huntly, john craig, james mathers, george armstrong, 1992, glen huntley

Victorian Railways Bread Plate - Black & White Maker : W H Grindley & Co (Ltd) Earthenware manufacturer at the Newfield Pottery and then the Woodfield Pottery, Tunstall, Stoke-on-Trent The company was founded at the Newfield Pottery in 1880 by William Harry Grindley (princliple partner) and Mr Turner (the '& Co.') They produced Earthenware and Ironstone China - particularly for the Canadian, United States, South American and Australian markets. In 1891 the company moved to the Woodfield Pottery, Woodland Street, Tunstall. In 1960 the business was purchased by Alfred Clough Ltd. In 1978 renamed Grindley of Stoke (ceramics) Ltd. Federated Potteries Co. Ltd. took them over in 1982 and in 1988 the business was re-purchase by W. H. Grindley. 1991 saw the company in the hands of the receivers. and the same year they were taken over by Woodlands Pottery. DURALINE (trade mark) printed mark used by Grindley Hotel Ware Co Ltd c.1930's onwards The Number i.e "6-53" = "month-year" Supplier to Victorian railways : Loftus Moran, Melbourne: Mr Loftus Henry Moran was well known in the tea trade. Originally employed by Griffiths Bros Ltd, he started his own business, Loftus Moran Pty Ltd, in 1909 In 1913 he purchased the tea business of Mcintyre Bros, and later' that of Steele Bros, and absorbed them in his own company. He had a wide business connection among hotels and guest houses for supplying crockery and other supplies. Ref: DEATH OF MR LOFTUS MORAN (1944, May 27). The Argus (Melbourne, Vic. : 1848 - 1957), p. 4. http://nla.gov.au/nla.news-article11809686 1st Advertisement of the Plates in the papers: CHIPPED CROCKERY. Nothing is more objectionable than chipped crockery--besides its use is illegal. DURALINE Plates, manufactured by The Grindley Hotel Ware Co., are tough as raw-hide. This is why they are used by practically every hotel and institution in Australia. Obtainable only from LOFTUS MORAN PTY. LTD., Hotel Supply Specialists, 131 Queen's Bridge Street, Melbourne South Advertising (29 March 1933, ). The Argus (Melbourne, Vic. ), p. 7. http://nla.gov.au/nla.news-article4726734Historic - Victorian Railways - Refreashment Services crockery - plateceramic Victorian Railways Bread Plate - Black & White Victorian Railways ( in black on fount of plate ) "DURALINE" ( in Black on back of plate ) super Vitrified GRINDLEY HotelWare Co England Loftus Moran Pty Ld Melbourne 8 -53puffing billy, victorian railways, crockery, plate

Contains enrolment forms of students, arranged alphabetically by surname. Some records also include marks achieved by students.Enrolment records of Charles Zwar ( writer of musicals) and William Wegener (enlisted to go to war when he was 16 years old. A prefect of 1915.)Binder with screws. Cardboard covered with buff coloured cloth and red corners.williamstown high school, student records, 1920's, charles zwar, william wegener

Harrow Morgan's mother's square hat badgefrom the 1920's.Square metal hat badge enameled in red, yellow and black. Holes in each corner so the badge could be sewn to hat band.On back of badge: 223, WWT. Also makkers mark that is too small to read.williamstown high school, hat badge, 1920's, school uniform

The badge was presented to Peggy Booth as an award for sporting achievements in the 1940's.Metal badge with enameled decoration in black, red, gold on front. Pin with hook on back. Makers mark on back but too small to read. 'Williamstown High School Hold Fast' around edge of front of badge.williamstown high school, sports award, badge, 1940s, peggy booth

These badges were presented to students for sporting achievements in the 1960s. This badge was presented to Iris Whitehurst (nee Webb). in 1960.Metal badge enameled in red, black and gold. Stylised S in the centre and 'Williamstown High School Hold Fast' around the edge.Makers mark on back but too small to read.williamstown high school, sports award, 1960, badge, iris webb, iris whitehurst

Hard cover, blue cloth report book of 16 pages. Contains school report and marks for Robyn Tompson achieved during the period 1961-65 Hand written teacher remarks and subject marks.williamstown high school, robyn thompson, 1961, 1960's, 1962, 1963, 1964, 1965, student reports

Made circa 1890-1900. Large electroplated Britttania metal teapot with hinged lid. Panelled etching on body and lid. Made in Sheffield by Thomas Otley & Sons.Trade Mark: Thomas Otley & Son Sheffield / EP BM TOS / S / Thomas Otley & Sons (Electroplated Brittania Metal). 0263 - 4 - 55teapot, electroplated brittania metal

Carton holding 12 boxes of Bryant & May's "Brymay" Special Safety Matches. The matchbox consists of paper covered wooden sleeve and drawers.One side: Bryant & May's trademarks. Top: BRITISH MADE / TRADE MARK / SECURITY / "BRYMAY" / SPECIAL SAFETY MATCH / 27 PRIZE MEDALS. Bottom: To protect their own interests and the reputation of Bryant & May's "BryMay" Safety Matches consumers should make a point of observing that B. & M.'s name and trade mark (mark) are on each box and package without which guarantee none can possibly by genuine.bryant & may's, brymay

Silver hair comb with curved pierced frame and engraved scroll pattern. Comb has 6 tines. Silver marks: WB & S; crown; lion passant; date letter Phair comb, silver, william batt & sons, sheffield

A grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18 metres high. Crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. Erected in 1920, the Arch marks the beginning of s 22 kilometre stretch of 3728 trees, each one a memorial to men and women in order of enlistment for World War 1. On 2 June 1920, the Prince of Wales opened the Arch and was presented with a pair of silk pyjamas embroidered with Australian emblems. Each of the 500 'Lucas Girls' had put in a stich. The Arch of Victory, located at the entrance to the Avenue of Honour Ballarat, was erected in 1920 as a memorial to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920. The single central arch is flanked by wide piers 20 metres in width, spanning the roadway, and 18metres high. The monument is of historical significance to the people of BallaratCement rendered masonry arch structureCrowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch.arch of victory, avenue of honour ballarat, australian commonwealth military forces, world war i, prince of wales, lucas girls

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. Likely Silverplate due to the intensity of the tarnishing of the metal, with indecipherable hallmarks on the handle, the method of production and the maker mark are unclear. The delicate swirling fernlike motif on this particular butter knife appears to be stylised in either Art deco the decorative arts and craft style favoured in Europe between 1880-1930's and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This butter knife represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food, he buttered his bread and he did it with a wonderfully decorated silver butter knife.A tarnished metal butter knife with engraved and embossed spiral fern details on the knife and handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen, cutlery, butter knife, knife, silverplate

Transcript: Athenaeum building celebrates 170 years Australian Broadcasting Corporation Broadcast: 11/11/2009 Reporter: Lisa Whitehead Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne’s Athenaeum building has, in one form or other, provided education and entertainment for the Victorian colony as it became a city; and along the way, documented its growth. Transcript KERRY O’BRIEN, PRESENTER: Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne's Athenaeum building has, in one form or another, provided education and entertainment. For the Victorian colonies it became a city and along the way documented its growth. The building's original library and theatre still draw devotees and as Lisa Whitehead reports, a loyal band of volunteers. KEVIN QUIGLEY, ATHENAEUM PRESIDENT: There's nothing like us that has been here from day one, four years after the boat pushed ashore, here we are. It's a thread that runs through the life of Melbourne. LISA WHITEHEAD, REPORTER: In the heart of Melbourne's CBD, the Athenaeum is a celebrity in disguise, the oldest cultural icon in the city, but barely noticed. MARJORIE DALVEAN, VOLUNTEER HISTORIAN: People of Melbourne walk past this area and they have no idea what it is. RAY LAWLER, PLAYWRIGHT: It seemed to me to be a place that absolutely, or breathes Melbourne, I suppose, culture. LISA WHITEHEAD: Just four years after Melbourne was founded, the colony built a Mechanic's Institution, one of the first in the world, a place where the working class could meet and learn. KEVIN QUIGLEY: People think of it as Wild West sort of place where these hearty types drank and rushed about, but Melbourne was freely settled. It was a city of people who wanted to better themselves - entrepreneurs. And the Mechanic's Institution was that innovative idea that had grown up in Edinburgh and London about providing an opportunity for education for the working people. LISA WHITEHEAD: Mark Twain lectured there. Later, other buildings were added and a theatre to host classic plays. And it adopted its more bourgeois friendly title of the Athenaeum. Crucially from the start there was the library, the first to offer affordable lending to the working man. And it still attracts devotees. Former University lecturer Margaret Bowman, 89, comes in every Wednesday, along with her dog to join an enthusiastic band of volunteers sorting through the archives. MARGARET BOWMAN, FORMER UNIVERSITY LECTURER: Doing research is something that I find actually I enjoy more than anything. Every old lady needs to have a project and now I've got a project. MARJORIE DALVEAN: Margaret, Christine has just found out that Alfred Deakin was a member here from 1874 to 1877. This place is not flashy, we've never been flashy. But book lovers walk in here and they know this is the place for them. ARCHIVAL FOOTAGE: Old times and old names. The Athenaeum theatre in Melbourne for more than 40 years has been one of the city's best known cinemas. LISA WHITEHEAD: In the 20th century, the theatre surrendered to the new craze of talking pictures, and one particular fan was famous Australian playwright Ray Lawler. At 13, he dropped out of school to work in a Footscray factory and two years later his first trip to the glamorous Athenaeum cinema hinted at the education he was missing. RAY LAWLER: It just had a style about it which I responded to, I think. I was looking for something and this seemed to be part of it. Ray Lawler went on to write "Summer of the Seventeenth Doll" and found literary fame overseas. About a century after it had started as an educational place for the working man, Ray Lawler had, in effect, become an Athenaeum graduate. RAL LAWLER: If they had been looking for the sort of person that they were hoping to encourage along the way, I suppose I would have been somebody that might have fitted the mould, you know. LISA WHITEHEAD: In time, the cinema was returned to its theatrical roots. FRANK THRING, 1977: It has a great resemblance to the Theatre Royal in Hobart which Larry Olivier has called the best theatre he's ever worked in. And it's almost identical. It is the true Victorian playhouse. The horseshoe shaped thing: stalls, dress circle and gallery. And you're close to the audience and they're close to you. Marvellous feeling. LISA WHITEHEAD: Today, it's still a theatre. But time has brought compromises. The once vaunted art gallery has now covered its windows and become a comedy club and performance space. TV and suburban life have eaten away at the library membership. It offers an online service now, and a recent federal government grant will pay for the upkeep of its gracious interior, including the 1930s elevator Ray Lawler used to ride. For him, it's money well spent on history quietly made and discreetly observed. RAY LAWLER: It's the lack of awareness, I think, that people don't know what they've got here. They've really got the whole history of Melbourne almost. KEVIN QUIGLEY: It was a similar organisation in Sydney but we are the only one that's got a continual lineage on the same spot. We started here and we're still here and we'll be here for another 100 years. KERRY O'BRIEN: Lisa Whitehead on a great Melbourne landmark. © 2010 ABC | Privacy Policy Beginning as the Melbourne Mechanics' Institution in 1839, the Melbourne Athenaeum has a long history that reflects the cultural and social development of Melbourne. It continues to be managed as a not-for-profit organisation by a volunteer board, with a subscription library (maintained since 1839) and a leased theatre.Video broadcast ABC 7:30 Report for 11/11/2009. "Tomorrow marks the 170th birthday of one of the nation's historic cultural landmarks. Melbourne’s Athenaeum building has, in one form or other, provided education and entertainment for the Victorian colony as it became a city; and along the way, documented its growth."athenaeum, australian broadcasting corporation, kerry o’brien, kevin quigley, lisa whitehead, marjorie dalvean, ray lawler, margaret bowman, frank thring.

Ben Boyd enlisted in the AIF in Melbourne, 13 December 1915, giving his age as 42 years and 11 months. At that time he gave Bathurst as parish of birth, and attested that his wife Emma, next of kin, resided in Fitzroy. He gave his occupation as 'cutter'. Boyd reported to Royal Park on 6 January 1916, attached to the 22nd Battalion 11th reinforcements. He embarked for the Middle East on 29 March, and it appears that he spent the rest of his service in Egypt, apart from some four months in Palestine from September 1917 to January 1918. During this time it appears that he was attached to the 11th Light Horse Regiment Provost Corps. There were various promotions to 'temporary Corporal' and 'Acting Sergeant'. Boyd disembarked in Australia on 25 August 1919. The first reference to Yackandandah in Boyd's war record came in his application for the British War Medal and Victory Medal, in a letter dated 10 February 1924. He received those medals on or about 3 March 1924. By that time he had been working in Yackandandah for several years, having been engaged as an 'up-tp-date cutter and tailor' by Mrs Haig in 1921. He continued working as a tailor until his passing in 1957. There is an anecdotal recollection of Boyd sitting up on what was the bank counter making garments and watching the world pass by on High Street, and also reference to him replying to the toast for The Diggers, at a smoke social convened by the Returned Services League to honour Sir Kenneth Beatty, at Martin's Hotel, 8 September 1927. The Yackandandah Museum is housed in what had been the Bank of Victoria and had become the business premises and residence of Haig Tailor. The building bore the title B. Boyd Tailor as late as the 1960's. Isabella Haig sold the building and residence to Yackandandah Historical Society in 1969. Instituted by King George V in 1919 to mark the end of World War I and record the service given, the British War Medal 1914-20, was also variously known as Squeak, or Mutt. Boyd was eligible for having entered a theatre of war during specified periods and having left places of residence and rendered approved service overseas. The medal is cupro-nickel (silver?) with the effigy of George V on the obverse. The reverse has an image of St George on horseback trampling underfoot the eagle shield of the Central Powers, and a skull and cross-bones, the emblems of death. Above this is the risen sun of victory. The years 1914 and 1918 are shown on the outside edge of the reverse surface. A ribbon is attached per a top bar. The ribbon has a wide central watered stripe of orange, flanked by two narrow white stripes, which are in turn flanked by two black pin-stripes, further flanked by two outer stripes of blue. (Refer Notes.) On the obverse, "GEORGIVS V BRITT. OMN: REX ET: IND: IMP" On the reverse "1914 1918" On the edge, stamped, "4378 A-SGT. B. BOYD. PROV. CPS. A.I.F."world war 1, great war 1914 - 1918, medals, british empire

Winner of this trophy must be a member of the Peterborough Women's Golf. This was one of the very early women's trophies. Winners are: 1968 Mrs Peter Clarke, 1969 Mrs Mark Howard, 1970 Mrs RE Harris, 1971Mrs H McCulloch 1972 Mrs mark Howard, 1973 Mrs RE Harris, 1974 Mrs D R Cashmore, 1975 Mrs D R Cashmore 1976 Mrs D R Cashmore 1977 Mrs Mark Howard, 1978 Mrs D R Cashmore 1979 Mrs. J S Irvine, 1980 Mrs J S Irvine, 1981 Mrs D R Cashmore, 1982 Mrs M Howard, 1983 Mrs R Roberts 1984 Mrs P Punch 1985 Mrs. B Clark, 1986 Faye Meade, 1987 Faye Meade, 1988 Mrs P Punch, 1989 F Meade, 1990 T Fraser, 1991 V Beer, 1992 L. Bourke, 1993 R Whitehead, 1994 T Green 1995 T Green 1996 T Green 1997 E Willox 1998 L Bourke, 1999 F Rundle 2000 F Rundle 2001 F Rundle 2002 F Rundle 2003 F Rundle 2004 F Rundle 2005 M Hesketh 2006 M Hesketh 2007 M Hesketh 2007 M Hesketh, 2008 M Hesketh, 2009 F Rundle 2010 B Drake, 2011 B Drake 2012 T Cartledge 2013 L Roberts 2014 T Cartledge 2015 T Cartledge 2016 T Cartledge 2017 N Cashmore 2018 J Walsh 2019 J Walsh 2020 J Walsh 21 J WalshMesh covered rosebowl shaped trophy on a wood coloured plastic plinth with a metal band for engraving names.Names of winners engraved

Certificate of Registration of Trade Mark, "Alexana", 6/12/1961 Made by the R S & S mill. Mr Lau worked with Mr Schofield untill the fabric was acceptable to all concerned.THOMAS EDWARD ASHTON...Assistant/24 seven... tenth../October...sixty T E Ashton A162,875woollen mills - history textile mills - operation, alexander lau pty ltd returned soldiers and sailors mill, woollen mills - history, textile mills - operation

Sister Rocks. Looking North c1860's. This photo is of a well known land mark along the Western Highway. They take their name from 3 sisters named Levy, who camped there with their parents during the early days of Stawell. In 2011 photos were taken to update and add to our "Sister Rock" collection. Direction of photos has been identified and are catalogued as on the updated index card. Black & White print of a photograph depicting large granite boulders with trees in foreground. c1900Looking North from Western Highwaystawell scenery

Used in 1950’s to power machinesSign at front “ Southern Cross “ $ Green in colour. Mark AX-C1 Air cooled$. An S with a cross is on the drum

Oriental motifs c 1860, were the greatest influence on cheaper wares of Minton Ware from 1870's. Mary McGowan brought the item out from England in 1934Large earthenware oval dish decorated with blue and black motifs. Centre of dish has recessed design in shape of Xmas tree to receive turkey juices.Porcelain Marks Goddens|Mintons BBdomestic items, crockery

Watch used by W.R. Cruickshank from 1920-1970's in Albury when at Nicholson and Smith, Watchmakers & JewellersA silver pocket watch case with a white face and black hands and numbers. It has an additional seconds clock and hand inset at the 6 mark. Markings: Westclox DAX, shock resistant. Made in Canada. Winder and handle at top of case.Westclox DAXhorology, watches

Auction brochure for 31 Fellows Street, Mitcham, 28 November 1998 (sold before). Four room 1920's Californian bungalow, owned by Mark Reister, sales and marketing manager, Woodards, 10Main Street, Blackburn and sold through Woodards. With biographical details of Mark Reister.Auction brochure for 31 Fellows Street, Mitcham, 28 November 1998 fellows street, mitcham, no 31, reister, mark, auctions

Three black and white photographs of old postcards, mounted on a sheet of decorative grey paper. Top one is a view of Main Street, Rutherglen, looking west, featuring Younkman's Store and the Victoria Hotel. Middle one is also of Main Street, looking west, featuring the Star Hotel at the corner of High Street, with horses and carts in the street. Bottom one is of the Victoria Hotel in Main Street, with cars of 1970s vintage parked along the street.Centre photo has an upside down post mark: "Sydney | Jan 5 | 12 [illeg.] | 1909 | 75"main street, high street, star hotel, victoria hotel, s younkman & co

Similar to cartridges used in the Zulu Wars of the 1870's. Used by the Victorian Volunteer Forces up until the late 1890's.Rolled brass case Mark III 1890 wrapped in original paper tied with string, 450/577 calibre for Mark 111 Martini Henry Rifle.

Dana Street State School was one of the earliest primary schools in Ballarat and was established in 1857.Timber honour board in the entrance foyer of Dana Street Primary School. names include: L.J. Curnow, W. Daly, M. Dixon, S.E.A. Dean, O.T. Dell, R. Eva, F. Eggington, S.P. Eddy, C. Frost, A.W. Fitzgerald, L.G. Fitzgerald, F. Feary, S. Fox, C.H. Falla, C.E. Fa;;a. H.C. Foote, J. Hammond. F.J. Harris. F.E. Hillman, J. Hunter, R.A. Hind, R.V. Horsfall, R.G. Hutson. H. Jones, R. Jamieson, C. Kerr, C.R. Kift, P. Kraiscill, A. Lancaster, C.W. Lee, I.T. Lilburn. R.E.N. Murphy, H. marks, H.H. Martell, P.W.G. Moon. G.P. Merz, A. McGoldrick, W.E. Moon, C.R. Ince, W.J. Peacock, W. Pollard, N. Pinney. C. Pike, J.R. Doney, A.R. Doney, R.E. Rowlands, A.E. Rowlands, L. Rowlands, C. Snell, R. Snell, J. Snell, W. Wilberforce, N.F. Wellington, H. Williams, E. Wallace, S. Wallace, H.S. Yates, A. Yates, T.E. Yates, l.j. curnow, w. daly, m. dixon, s.e.a. dean, o.t. dell, r. eva, f. eggington, s.p. eddy, c. frost, a.w. fitzgerald, l.g. fitzgerald, f. feary, s. fox, c.h. falla, c.e. fa, a. h.c. foote, j. hunter, r.a. hind, r.v. horsfall, r.g. hutson. h. jones, r. jamieson, c. kerr, c.r. kift, p. kraiscill, a. lancaster, c.w. lee, h. marks, h.h. martell, p.w.g. moon. g.p. merz, a. mcgoldrick, w.e. moon, c.r. ince, w.j. peacock, w. pollard, j.r. doney, a.r. doney, r.e. rowlands, a.e. rowlands, l. rowlands, c. snell, r. snell, j. snell, w. wilberforce, n.f. wellington, h. williams, e. wallace, s. wallace, h.s. yates, a. yates, t.e. yates, dana street state school, dana street primary school, j. hammond, f.j. harris, f.e. hillman, i.t. lilburne, r.e.n. murphy, n. pinney, c. pike

Close up photograph of the plaque on the Kyeema cairn at Mt Dandenong. The text reads: FIFTY METRES BELOW THIS POINT ON 25 OCT. 1938, AUSTRALIAN NATIONAL AIRWAYS' DC-2 'KYEEMA' PLUNGED TO DESTRUCTION WHILE THE MOUNTAIN WAS ENVELOPED IN CLOUD. ALL 18 PERSONS ON BOARD PERISHED. FROM THE RECOMMENDATIONS OF THE SUBSEQUENT ENQUIRY HAVE EVOLVED THE AIR TRAFFIC CONTROL SYSTEMS IN USE THROUGHOUT AUSTRALIA TODAY. THIS PLAQUE, PLACED BY THE MOUNT DANDENONG HISTORICAL SOCIETY, WITH ASSISTANCE FROM G. GRAMP & SONS, THOS. HARDY & SONS, S. SMITH & SON, AUSTRALIAN FEDERATION OF AIR PILOTS AND FORESTS COMMISSION OF VICTORIA, WAS UNVEILED ON 25TH OCT. 1978 TO MARK THE 40TH ANNIVERSARY OF THE DISASTER.kyeema, cairn, plaque, mt dandenong, air crash