The Melbourne Women's Walking Club enjoyed bush walking as a hobby travelling to the north east of Victoria, using pack horses and camping on a 9 day hike. One of the woman, 'Bill' describes each day in detail - what they did, where they went and what they saw giving an insight into walking and the Bogong High Plains in the mid 1930's before the Kiewa Hydro Electric Scheme opened up the area. The diary mentions a photo being taken by Mr Blackwell on the 9th day, New Year's Eve 'from a lovely bush track from which, looking back at intervals we got our final glimpse of Fainter. 5 miles from from our destination'.Historic: This extract from the diary of 'Bill', a member of the Melbourne Women's Walking Club gives an insight into walking in the mid 1930's and describes the Bogong High Plains as it was then before it was opened up with a road built during the Kiewa Hydro Electric Scheme. It describes the area in summer including the flora & fauna, cattle grazing & cattlemen, the huts, the gauges set up by the State Electricity Commission of Victoria, the people working up there, the weather and the lifestyle of the walking group - their food, duties, swimming etc.. Six double sided typed photocopied yellow pages describing the Melbourne Women's Walking Club trip to the Bogong High Plains at Christmas in 1934. Also one page photocopied of the programme for Year 1934-35 with an arrow pointing to the above trip and a page with a photocopied sepia photo of the "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934. DVD 12 photos of the trip arrow showing trip from Programme. Title of photo "Melbourne Women's Walking Club / Bogong High Plains / Dec. 1934melbourne women's walking club. bogong high plains. camping. pack horses. cattlemen's huts.

The old Diamond Street bridge in Eltham had a raised section seen here and a lower section, the railings of which can just be seen. The upper pedestrian crossing provided continual access for foot traffic during times of flood. This photo is part of the Alice Broadhurst collection held by Yarra Plenty Regional Library, a series of 12 photo albums compiled by Alice Broadhurst (1896-1981), initially while working as a Voluntary Aid Detachment nurse with the Australian Red Cross at the Mont Park Military Hospital (No. 16 AGH) and subsequently as a nurse at the Royal Melbourne and Royal Women’s hospitals alongside many pioneering doctors of their fields. This photo depicts an outing with fellow VAD nurses McGeachy and Byrne and two patients of Mont Park, Curry and Caffery to Eltham in spring 1919 Digital file"Curry, Byrne, McGeachy & self on rustic bridge, Eltham, Oct 22, 1919"eltham, diamond creek, diamond street bridge, alice elizabeth broadhurst, byrne, caffery, curry, mcgeachy, nursing staff, mont park, 16 agh

This photo depicts an outing of VAD nurses Alice Broadhurst, McGeachy and Byrne and two patients of No. 16 AGH Macleod (Mont Park Military Hospital), Curry and Caffery to Eltham in spring 1919. Broadhurst's companions pose with an old timer from Eltham on the roadside verge with a large collection of sticks stacked vertically outside a cottage. This photo is part of the Alice Broadhurst collection held by Yarra Plenty Regional Library, a series of 12 photo albums compiled by Alice Broadhurst (1896-1981), initially while working as a Voluntary Aid Detachment nurse with the Australian Red Cross at the Mont Park Military Hospital (No. 16 AGH) and subsequently as a nurse at the Royal Melbourne and Royal Women’s hospitals alongside many pioneering doctors of their fields.Digital file"McGeachy, Curry, Byrne & Caffery with an old man who lives there at Eltham"eltham, alice elizabeth broadhurst, byrne, caffery, curry, mcgeachy, nursing staff, mont park, 16 agh, old timer, pioneer, cottage, wood pile

This photo depicts an outing of VAD nurses Alice Broadhurst, McGeachy and Byrne and two patients of No. 16 AGH Macleod (Mont Park Military Hospital), Curry and Caffery to Eltham in spring 1919. Broadhurst's companions pose with an old timer from Eltham on the roadside verge with a large collection of sticks stacked vertically outside a cottage. This photo is part of the Alice Broadhurst collection held by Yarra Plenty Regional Library, a series of 12 photo albums compiled by Alice Broadhurst (1896-1981), initially while working as a Voluntary Aid Detachment nurse with the Australian Red Cross at the Mont Park Military Hospital (No. 16 AGH) and subsequently as a nurse at the Royal Melbourne and Royal Women’s hospitals alongside many pioneering doctors of their fields.Digital file"Same group with self instead of Byrne, Eltham, Oct 22"eltham, alice elizabeth broadhurst, byrne, caffery, curry, mcgeachy, nursing staff, mont park, 16 agh, old timer, pioneer, cottage, wood pile

This photo depicts an outing of VAD nurses Alice Broadhurst, McGeachy and Byrne and two patients of No. 16 AGH Macleod (Mont Park Military Hospital), Curry and Caffery to Eltham in spring 1919. Broadhurst's companions pose sitting on a creek bank around a open suitcase which containes their picnic spread. This photo is part of the Alice Broadhurst collection held by Yarra Plenty Regional Library, a series of 12 photo albums compiled by Alice Broadhurst (1896-1981), initially while working as a Voluntary Aid Detachment nurse with the Australian Red Cross at the Mont Park Military Hospital (No. 16 AGH) and subsequently as a nurse at the Royal Melbourne and Royal Women’s hospitals alongside many pioneering doctors of their fields.Digital fileeltham, alice elizabeth broadhurst, byrne, caffery, curry, mcgeachy, nursing staff, mont park, 16 agh, diamond creek, picnic

This photo depicts an outing of VAD nurses Alice Broadhurst, McGeachy and Byrne and two patients of No. 16 AGH Macleod (Mont Park Military Hospital), Curry and Caffery to Eltham in spring 1919. Broadhurst's companions pose sitting on a log bridge. This photo is part of the Alice Broadhurst collection held by Yarra Plenty Regional Library, a series of 12 photo albums compiled by Alice Broadhurst (1896-1981), initially while working as a Voluntary Aid Detachment nurse with the Australian Red Cross at the Mont Park Military Hospital (No. 16 AGH) and subsequently as a nurse at the Royal Melbourne and Royal Women’s hospitals alongside many pioneering doctors of their fields.Digital fileeltham, alice elizabeth broadhurst, byrne, caffery, curry, mcgeachy, nursing staff, mont park, 16 agh, log bridge

In March 2003 military forces of the Coalition of the Willing, including 2,000 men & women of the Australian Defence Force (ADF) invaded Iraq. Since July 2003 working with the interim Iraqi Government, the ADF has continued to contribute to Multinational Force efforts to develop a secure & stable environment in Iraq & assist national recovery programs. In mid Jun 2005 some 1,400 ADF personnel were serving in Iraq.Small enamel badge showing face of a soldier which is attached in the centre of cardboard. Cardboard shows coloured print of children welcoming an Australian soldier.Printed on badge: “Remember Iraq” Printed bottom of cardboard: “Iraqi children welcome an Australian soldier in a small village on the outskirts of As Samawah. Photograph courtesy of Department of Defence” Printed back of cardboard: “Remember Iraq”badge, iraq, 2003

Hester Clara Darby joined the staff of the School of Mines, Ballarat (SMB) as an assistant to senior Commercial Classes in April 1916. On 01 February 1921 she was appointed a lecturer. She taught the 'Touch' Method of typing, Commercial Correspondence and Office Routine. During the war years Hester Darby, still teaching at SMB, worked as the honorary stenographer to the Ballarat Area Office. She was working in this capacity when troops from USA were billeted in Ballarat. After 41 years Hester Darby retired from the position of Typewriting Instructress in the Commercial Department in 1962.smb, ballarat school of mines, commercial classes, lecturer, touch typing, commercial correspondence, office routine, 1921-1962, world war 2, honorary stenographer to area office, usa troops billeted in ballarat

Jeanette Perkins was born in 1927 at Ballarat. She attended Alfredton State School and Pleasant Street State School before completing her secondary schooling at Ballarat High School (BHS). During her later years at BHS Perkins decided that she wanted to become a geologist, but was ineligible for university when she failed Leaving Certificate maths. She attended an interview with the principal (Heseltine) at the Ballarat School of Mines (SMB) and announced that she wanted to be a geologist. Heseltine was, according to Perkins, aghast: he informed her that there had never been a female geologist at SMB and they didn't want one. But Perkins persisted. Only then did Heseltine reluctantly enrol her in the School's Applied Chemistry Course which offered the most geological subjects, moreover, it was the only one he considered available to a 'mere' female. After graduating Perkins was employed as a metallurgical chemist with M.B. Johns Valves, Ballarat. In 1949 she married Alfred Watson. In 1951 Jeanette and Alf Watson moved to Melbourne where she commenced work as a metallurgical chemist at the Maribyrnong Ordnance Factory while studying geology part time: Alf returned to study at the University of Melbourne. Once again, Watson set a precedent by becoming the first female student to study geology part-time at the Melbourne Technical College. Increasing demands brought about by her growing family, she turned to part-time lecturing second and third year stratigraphy and palaeontology at RMIT. In 1957 the Watsons moved to the Mary Kathleen Uranium Mine in NW Queensland where he was appointed electrical design engineer. After their return to Melbourne in 1960, Jeanette taught herself to SCUBA dive and quickly developed a passion for the sport and the marine environment. She taught senior science to secondary students for 10 years whilst working towards a Masters degree. In 1991 Jeanette Watson was awarded a Doctorate from Deakin University.women of note, ballarat school of mines, alfredton state school, pleasant street state school, ballarat high school, leaving certificate maths, interview with principal, heseltine, geologist, applied chemistry course, no female geologists, metallurgical chemist, married 1949, melbourne, ordinance factory, part time study, melbourne technical college, rmit, part time lecturer, scuba diving, science teacher for ten years, masters degree, doctorate, deakin university

On the 19th and 20th September 1910, the Mission organised a fundraising evening at the Masonic Hall on Collins Street. The "Tableaux vivants", called "Tennison's Dream of Fair Women" were arranged by artist Violet Teague. She arranged and painted the decors for the "tableaux vivants" in the Siddeley Mission. It's likely she also created the cover of this programme. "Mother and Lover of Men the Sea" is a verse form the poem: The Triumph of Time by Algernon Charles Swinburne While she was working, seamen from the Carnarvon Bay shipwreck were welcomed to the institute and subsequently invited to the evening. "They went through a large room, where a lady was standing on a scaffolding pointing a scene for the enter" tainment which is to take place this evening in the Masonic-hall. The lady was Miss Violet Teague, but she took her mind and her brush off the effects in marine blue sufficiently long to learn the main outlines of the story. " (Argus 19 September 1910). "During the evening the Rev W F Haire, acting chaplain to the mission announced that among those present were the shipwrecked survivors of the Carnarvon Bay, which was wrecked at King Island on Thursday last The men, who bore no traces of the hardships they endured took their places on the platform, whilst the large audience cheered itself hoarse and sang "For They Are Jolly Good relics". (Argus 20 September 1910) In 1935, Violet Teague was on the passengers on the C.B. Pedersen, one of the last windjammers. She Drew and painted during her voyage and exhibited the artworks in 1938.This rare programme is the last remaining testimony of the relationship between the Mission and famous artists of the time who provided illustrations for quotation calendars (Daryl Lyndsay, John Shirlow).12 pages programme. The cover is light blue paper with the design of the Greek ship printed in black ink.violet teague, tableaux vivants, 1910, fundraising, theatre, play, algernon charles swinburne, sponsors, advertising, carnarvon bay, shipwreck, una le souef, masonic hall, lady gibson-carmichael, willsmere certified milk and co, fry's cocoa, remington typewriter, hypol, lhlg, ladies harbour lights guild

This photograph is one in a collection known as the Allan Charles Quinn collection. These photographs were taken during his time at sea in the period immediately after World War II. This photograph has a complementary letter that was written by Allan to his mother outlining his first experience of Carnival.As a whole the Allan Charles Quinn collection offers insight into the life of a young man working at sea in the period immediately after World War II. The photographs are complemented by a collection of letters written between Allan and his mother.Black and white photograph of a carnival float taken in Rio de Janeiro. There is a large crowd visible in the foreground and the background. The float is in the centre of the photograph. There is a white fountain on the float with two women dancing. Their dresses are flowing outward as they twirl. Blue ink on reverse: CARNIVAL IN RIO./ 1-3-49allan-quinn, photograph, rio, carnival, floats, dancers, crowd, 1949, merchant navy

This cigarette or pipe lighter was in use in the mid 1900's when the majority of users were men. Ladies did smoke but mainly not in "public" The activity was still regarded as a male activity. Middle to Upper "Class" of women nearly always had a gentleman "at hand" that would "light up" her cigarette. This was seen as a "social" activity only but later in the mid 1900's onward it was quite acceptable for both sexes to "smoke" at anytime.This type of lighter was male orientated due to the degree of lighting the flint with the horizontal movement required a strong thumb action across the lighting wheel. It is significant to rural areas such as the Kiewa Valley as the majority of men (especially during and after World War II) regarded smoking as a way to ease off the "tension" of hard work. The socio-economics of the Australian work place changed after the emancipation of women in the "workforce" after the World War II depleted the male workforce for the duration of the War and changed the Australian ethics of women in all aspects of both city and rural working "so called" male only occupations.This Polo Swift lift arm cigarette/pipe lighter has a chrome plated shell and is fueled by petrol. To operate this lighter you lift the "snuffer" arm exposing the wick, then scrape the flint wheel to create a spark from the adjacent flint(resting on the brass ignition wheel).At the bottom of the lift arm station "POLO". Each side of the lighter are "Art Deco line running from the top of the lighter to the bottom. Between these is a rectangular box with "diamond crossed lines"early hand lighters, smoking in the 1930's, cigarette lighter, tobacco, cigerettes, lighter

This cigarette or pipe lighter was in use in the mid 1900's when the majority of users were men. Ladies did smoke but mainly not in "public" The activity was still regarded as a male activity. Middle to Upper "Class" of women nearly always had a gentleman "at hand" that would "light up" her cigarette. This was seen as a "social" activity only but later in the mid 1900's onward it was quite acceptable for both sexes to "smoke" at anytime.This type of lighter was male orientated due to the degree of lighting the flint with the horizontal movement required a strong thumb action across the lighting wheel. It is significant to rural areas such as the Kiewa Valley as the majority of men (especially during and after World War II) regarded smoking as a way to ease off the "tension" of hard work. The socio-economics of the Australian work place changed after the emancipation of women in the "workforce" after the World War II depleted the male workforce for the duration of the War and changed the Australian ethics of women in all aspects of both city and rural working "so called" male only occupations.This Roller Beacon lift arm cigarette/pipe lighter has a chrome plated brass shell and is fueled by petrol. To operate this lighter you lift the "snuffer" arm(long roller lift arm) exposing the horizontal external flint tube, then scrape the flint wheel to create a spark (to light the wick) from the adjacent flint(resting on the brass ignition wheel).At the base to the left of the "filler" screw "PATENT No. 485037, 818155" underneath "REG. DES. N" on the filler screw "ROLLER REG" underneath "TRADE MARK". To the right of the "filler", "THE ROLLER BEACON MADE IN ENGLAND"early hand lighters, smoking in the 1930's, cigarette lighter, cigarette, tobacco

C.W.A. is the Country Women's Association of Victoria and was formed in 1928. It is a self funded philanthropic organisation. It is non-sectarian, non-party-political, non profit lobby group working predominantly in the interests of women and children in rural areas. It helps in the provision of services to its members and the improvement of amenities in rural areas.The C. W. A. has had branches in the Kiewa Valley up until the present day.Round metal sign. On the front it is green, white and gold. There are four holes in it for attaching it to a fixture eg. Entry to town sign.c.w.a., country women's association

The women at Mt Beauty played an important part in the life of the construction town especially as it began from scratch without any facilities or infrastructure. Also the men were working long hours and on site, away from home.Mount Beauty was a construction town with all facilities having to be built and managed.Booklet of 3 pages with black plastic spine and black back cover. The title is written on the frontInside stuck on the first page is a green tag on which is written 'Mrs Phyllis Sutton did not move into Mt Beauty until 1956.'mount beauty women, construction town

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHat Pin with a forest green opaque ball headclothing, millinery, hat accessories, 1920 fashion

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0356millinery, hat pin, female head wear, hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0287hat pin, female head apparel, clothing accessories

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsBrass Pin, two 3.5cm cones, gold coloured tapered down to imitation half peal centre piece Cones stamped with small flower petalsmillinery, hat pin, female head wear, hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHead of pin is ball shaped covered blue/silver reflective fastened sequin. Each sequin is attached by a seed bead of dark blue colourmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0352 for same pin except details are highlighted with darkened outlines(may be dirt)clothing, millinery, costume, women hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0351 for a cleaner itemmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsElongated pearl on silver coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoors This item is similar as the one worn by the "Queen Mother" in the film "The Kings' Speech"Silver coloured pin with a thistle shaped head also in silver/chrome colour. Sleek in appearancemillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsGold coloured pin adorned with two curls. One with fourteen small glass/diamond stones one red/ruby type stone three empty stone clasps gold coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a turquoise glass ball head with a long needle. It is in the same style as items KVHS 0358 and KVHS 0359.millinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a yellow/amber glass ball head. It in is the same style to KVHS 0357 and KVHS 0359clothing, millinery, costume, women hat accessory