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Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Grasstrees, a different perspective, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Burnt Wattle's Tracery, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Smooth Fruited Grevillea, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Just a Gumtree, 2006
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Carefree Youth, 1990
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, The Cult of the Car - Obsolescence, 1989
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Scarlet Banksia, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, She-Oak in Spring, 2002
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Aftermath, 2005
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Vision Australia
Administrative record - Text, Braille and Talking Book Library 94th Annual Report 1894-1988: that all may read, 1988
Annual report of the Braille & Talking Book Library including Minutes of the AGM, Board of Director's Report, President's report and financial statements. Items also included are: consultants used to streamline structure to reduce costs, take advantage of computer catalogue and resignation of Iris Whittaker and Seija Makinen, legacy from Valmai Jean Grey Bequest, Anne Barca, David Scott and Peter Walsh joined the Board, Braille Book of the Year panel (Joyce Nicholson, Stephen Murray-Smith, Barrett Reid) continue to short list titles for readers to vote on and Australia Council funds production of these titles, increased wait times to 18 months for new borrowers, introduction of computerised Profile matching for readers, full audio rights secured for six titles by LBP Ltd (Louis Braille Productions) and tone indexing introduced on to magazines at beginning of 1988.1 volume of text and illustrationsbraille and talking book library, annual report -
Tarnagulla History Archive
Photograph of stables behind bank building, Tarnagulla, Stables behind bank building, Tarnagulla, circa late 1960s
Murray Comrie Collection. This image depicts the stables at rear of a two-storey bank building in Tarnagulla. The bank building was used first by the Colonial Bank of Australasia (from 1866 to 1888) and then by the Union Bank (from 1888 to 1942). The two-storey bank building was built in 1866 by the Colonial Bank of Australasia. Before this, the site had been occupied by Foo's shop. Whilst it was being built, the Colonial Bank operated from Company's Hotel (later known as Burstall Hall and the Council Chambers). The new double-storey building was used by the Colonial Bank from 1866 until 21st February, 1888. The premises were sold to the Union Bank for £2500. The Union Bank moved in and commenced operations on 6th June 1888, continuing until 1942. The building was later used as a general store until the 1990s. It is now a private residence. Monochrome photograph depicting stables at rear of the double-storey bank building in Tarnagulla. Image depicts a brick building with white timber doors and corrugated metal roof. The site was originally built by and for the Colonial Bank and later used by the Union Bank. tarnagulla, banks, banking, commerce, buildings, commercial road, horses, stables -
Tarnagulla History Archive
Photograph of stables behind bank building, Tarnagulla, Stables behind bank building, Tarnagulla, circa late 1960s
Murray Comrie Collection. This image depicts the stables at rear of a two-storey bank building in Tarnagulla. The bank building was used first by the Colonial Bank of Australasia (from 1866 to 1888) and then by the Union Bank (from 1888 to 1942). The two-storey bank building was built in 1866 by the Colonial Bank of Australasia. Before this, the site had been occupied by Foo's shop. Whilst it was being built, the Colonial Bank operated from Company's Hotel (later known as Burstall Hall and the Council Chambers). The new double-storey building was used by the Colonial Bank from 1866 until 21st February, 1888. The premises were sold to the Union Bank for £2500. The Union Bank moved in and commenced operations on 6th June 1888, continuing until 1942. The building was later used as a general store until the 1990s. It is now a private residence. Monochrome photograph depicting stables at rear of the double-storey bank building in Tarnagulla. Image depicts a brick building with white timber doors and corrugated metal roof. The site was originally built by and for the Colonial Bank and later used by the Union Bank. tarnagulla, banks, banking, commerce, buildings, commercial road, horses, stables -
Wodonga & District Historical Society Inc
Plaque - Official Opening of the Child Care Centre & South Street Pre-School, Wodonga, 1989
This training module was available to enginemen who had completed Modules 1 to 5 (1983 Scheme). The manual contained fault finding checklists and standard procedures to be carried out if faults occured. Every driver was required to be conversant with and follow the instructions. Enginemen issued with this manual had to carry it with them at all times when in charge of a diesel electric locomotive.This plaque commemorates the official opening of an occasional child care centre and pre-school in South St, Wodonga in 1989 by the Governor of Victoria Dr. Davis McCaughey. With strong population growth in Wodonga community services had expanded rapidly throughout the 1980s. The first child minding centre had opened in 1975. BY 1987 Upper Murray Family Care provided full-day family day care and occasional care and there were also 2 private child care centres. By 1986 there were 350 full-time places and 75 part-time places, but pre-schools were unable to fill the demand for another 511 applicants. This new facility helped to ease a little of the problem. As well as the inscription included here, the name of the Mayor, all members of the Wodonga Council, City Engineer, Architect and Builder are listed on the plaque.This item illustrates an important development in the provision of pre-school and child care services in Wodonga.A bronze rectangular plaque with detailed inscription, designed to be attached to the wall of a building. There is a hole in each corner for bolts to be inserted. The text is raised above the surface of the plaque. It features the symbol of the shield of the Rural City of Wodonga in the top left corner.fiction"RURAL CITY OF WODONGA WODONGA OCCASIONAL CHILD CARE CENTRE AND SOUTH STREET PRE-SCHOOL CENTRE OFFICIALLY OPENED BY HIS EXCELLENCY DR. DAVIS MCCAUGHEY, A.C., GOVERNOR OF VICTORIA ON 9TH DAY OF MAY 1989child care facilities wodonga, children's services wodonga, pre-schools wodonga -
Wodonga & District Historical Society Inc
Book - The Hume Dam: 100 Questions for a Centenary, Howard C Jones, 2019
A booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020."non-fictionA booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020." hume dam, dams -- new south wales, hume dam history, dams -- new south wales -- design and construction -
Wodonga & District Historical Society Inc
Photograph - Sentinel Office, Wodonga, c1900
The office of The Sentinel or Wodonga and Towong Sentinel newspaper was in High Street, Wodonga. The Sentinel began operation in 1885 and was owned, managed and edited by James Ryan. It was published weekly until he was killed by a train at Wodonga station on 27 July 1912. James Ryan was born in Beechworth in 1861 and served his apprenticeship with the printing business of the "Ovens and Murray Advertiser”. For a time, he worked on the Melbourne "Herald”, followed by the Ballarat “Courier”. With a fellow printer, William Oldfield Taylor, he moved to Wodonga and they began the "Wodonga and Towong Sentinel" with the first issue on 29th August 1885. Mr Taylor died in June 1894. After James Ryan’s death the “Sentinel” was continued by his son Charlie until his death 26 February 1965. It was sold to the Border Morning Mail in 1965. The last issue was published on 22 March 1968.This image captures th80e premises of an important newspaper published in Wodonga for 80 years.A black and white image of the Sentinel newspaper office in Wodonga.At the top of the building "The SENTINEL"wodonga businesses, wodonga & towong sentinel, wodonga buildings -
Wodonga & District Historical Society Inc
Album - Ringer's River by Des Martin - Plate 33 - Escaping the Police
The bodies of mother and son are driven side by side to burial while the shops shut down and all Overton turns out for the funeral. Ellen's elder son Con O'Hara, and Sean O'Day ride as outriders to the hearses. Sgt. Baker and his men arrive at the church, the Sgt. approaches Con, declares that no police action will be taken before the town re-opens, and asks if he can provide an escort for the cortege. The funeral over O'Day tarries till after the shops have opened and Sgt. Baker sets a trap for him on the bridge over the Murray. Cornering him on the bridge he says it will give him great pleasure to personally escort him all the way to the police station. "All the way Sergeant?" asks O'Day. "Then come on!" With which he jumps his horse over the rail of the bridge. D.J. Martin on Pampas Air.The album and images are significant because they document literature written by a prominent member of the Wodonga community. The presentation of this precis was supported by several significant district families and individuals.Ringer's River Album Coloured photo Plate 33des martin, many a mile, ringer's river, northeast victoria stories -
Port Melbourne Historical & Preservation Society
Photograph - Port Melbourne Football Club, Coronation premiers, 1953
Back row: Ron Barnett, Dennis Fogarty, Jack Metheral, Kevin Hoolihan, George Stone, Bill Bragg, Tom Lehane, Claude Cumberledge, Jim Wilson, Frank Johnson. Second Row: I Leearcher (Trainer), Max Croft, George Caris, Ernie Wharton, Bob Bonnett, Kevin Hammond, Ted McCarthy, Alan Woodbridge, Dick Power (Trainer), J. Waglan (Trainer). Third Row: Jim Colley (Trainer), Alex Garbutt (Trainer), Bob Kelsey, Don "Mopsy" Fraser, Reg "Bomber" Murray, Ken Dunbar, Jack Storey, Jim Clancy (Trainer), Jim Hall (Trainer). Front Row: Stan "Tassie" Alexander, Bernie Laffey, Henry Tucker, Ernie Atkinson, Bernie Miller, Brian Walsh, Stan "Darcy" Tucker. Inset Top (Absent): Terry Foote, Jim Townsing. Photo of Port Melbourne Football Club. Coronation premiers 1953. Reverse side a list of players has been attached.sport - australian rules football, port melbourne football club, pmfc, ron barnett, dennis fogarty, jack metheral, kevin hoolihan, george stone, bill bragg, tom lehane, claude cumberledge, jim wilson, frank johnson, i leearcher, max croft, george caris, ernie wharton, bob barnett, kevin hammond, ted mccarthy, alan woodbridge, dick power, j waglan, jim colley, alex garbutt, bob kelsey, don "mopsy" fraser, reg "bomber" murray, ken dunbar, jack storey, jim clancy, jim hall, stan "tassie" alexander, bernie laffey, henry tucker, ernie atkinson, bernie miller, brian walsh, stan "darcy" tucker, terry foote, jim townsing -
Warrnambool and District Historical Society Inc.
Certificate, J. W. Harrison, Yambuk Cheese and Butter Factory Share certificate, 1893
Augustus Bostock was the 9th child of Robert & Rachael Bostock of Vaucluse Epping Forest, Van Diemen’s Land. He was only 4 years old when his mother died. He was inspired by his father to seek his fortune in the Western District of Victoria. He arrived around 1850. He married Margaret Aitkin in July 1865. Augustus owned several properties in the district and leased others. He sat on the court of Warrnambool, Mortlake or Hexham as required. He resided at Marramook in Hawkesdale and later moved to Vaucluse in Hopetoun Road Warrnambool, where he died in 1920 at the age of 87. He was involved in many aspects of life in the Western District, racing, cricket, and social activities to name a few. The Yambuk Cheese and Butter factory operated until around 1917 when it failed financially and was wound up by liquidators. It was operated for a short period by Murrays of NZ but they too succumbed to the poor financial situation. This is one of a number of documents which relate to the Bostock family who were one of the most important pioneering families of the Western District. They owned and leased various properties around Warrnambool and were involved in many aspects of social and business life. The document itself is indicative of its time and provides an insight into the details and terms of such documents at the time.Small white sheet with purple printing. Items filled in with black pen. Serrated edge on one side. Transfer form printed on the reverse in purple. Stamped seal in bottom right hand corner.Signed by Augustus Bostock, G Ritchie. Stamped no 27 in top left corner.warrnambool, augustus bostock, yambuk cheese and butter factory, shareholders yambuk cheese factory 1893, -
Orbost & District Historical Society
textbooks, 1948 - 1982
These reference books were used in the Orbost pharmacy by various chemists. . Chemists who worked in Orbost included Henry Cottman; James Alfred Dubois Williams; Harry Arthur Murray; Miss P.E .Mason (Phyllis Estelle?); Miss Sybil Monica Buzza; Thomas James Frayer; Australia Shaw; James David Torley; John William Zimmer; Dalkeith William Steele; William Thomas Hollingsworth; E.E. Cohen; R.S. Anderson; Frances John Perry Faith Everard Pardew and Charles Anthony Wurf. "n Britain, the Medical Act of 1858 charged the General Medical Council with the "production of a book containing the list of medicines and compounds, and the manner of preparing them together with the true weights and measures by which they are to be mixed and prepared". The British Pharmacopoeia thus became the official reference book and superseded other previous manuals" (from .South Australian Medical Heritage Society Inc" These reference books have an association with Orbost. Historical works in pharmacy show the evolution of therapeutics and the development of diverse treatment and are therefore a useful research tool. Five heavy reference books. They contain detailed information on drugs and other pharmaceutical materials with standards for substances. Details of each book are in the catalogue folder.pharmacies-orbost reference-books-pharmacy medicine drugs -
Federation University Historical Collection
Document, Hamilton "Spectator" print, Hamilton Memorial Service for King George V, 01/1936
The Hamilton service for the late King George V was held at Melville Oval on Tuesday 28 January 1936 at 3pm. King George V was born on 03 June 1865, and visited Hamilton in 1881. He ascended to the throne in May 1910, his coronation being held on 22 June 1911. The second visit of King George to Australia was in 1901, and his silver jubilee of reign was in 1935. he died on 21 January 1936. Hamilton Town Councillors in 1936 were James Young (Mayor), J.G. Stewart, E.R. Waters, H. Water, H.P. Sabelberg, G.C. Shilcock, J.W. Tulloch, C.J.B. Moodie, D.T.H. Fenton. Dundas Shire Councillors in 1936 were E.B. Niske (President), G.A. Christie, H. Crawford, W.J. Balkin, H.R.A. Bull, J. Kirkwood, J. McFarlane, J.J. Murray, R.B. Shilcock. The program was located in the book 'Passing of the Aborigines' by Daisy Bates.Four page paper programme for the Town of Hamilton Memorial service to the late King, his Majesty King George V. The centre pages include the order of service.chatham family archive, chatham, king george, royalty, hamilton, james young (mayor), stewart, waters, water, sabelberg, shilcock, tulloch, moodie, fenton, d niske (president), christie, crawford, balkin, bull, kirkwood, mcfarlane, murray, shilcock., r.b. shilcock, d. niske, s=g.c. shilcock -
Ballarat Tramway Museum
Programme, 1956 Olympic Games, Rowing Programme Lake Wendouree, Ballarat, 26-11-1956
The 1956 Melbourne Olympics saw the rowing events held on Lake Wendouree Ballarat. This was only set of events held outside Melbourne Region. The Programme, lists the scoreboard abbreviations, the Games Committee, map of the course, Rowing events Committee and Council, Officials, each event, finalists, names position, previous winners, transport services, though did not include Ballarat trams and on the rear cover a simplified programme of events and a map and list of competition venues. Cover printed by Sands McDougall Pty Ltd Melbourne with text by Alex King & Sons Pty Ltd Ballarat. Two contestants of interest are Murray Riley and Mervyn Wood who came 3rd in the double sculls. Wood became the NSW police commissioner in 1977 and Riley was a corrupt NSW Policemen and after leaving the police force became highly involved in the Nugan Hand Bank which was highly involved in drug trafficing, and crime syndicates. See reference.Yields information about the Rowing Events on Lake Wendouree in 1956. The trams were an important transport service to and from central Ballarat for this event.Book - 20 pages, centre stapled, titled "1956 Olympic Games, Melbourne Official Rowing Programme Lake Wendouree, Ballarat" and printed specifically for Tuesday 27 November 1956.All event results have been filled in with the list of countries and their times.olympic games, transport, ballarat, rowing, lake wendouree, events -
Vision Australia
Administrative record - Text, Braille and Talking Book Library 92nd Annual Report 1894-1986: that all may read, 1986
Annual report of the Braille & Talking Book Library including Minutes of the AGM, Board of Director's Report, President's report and financial statements. Items also included are: naming the computer which will store the book catalogue for the library 'Tilly', RVIB declared a public library and Minister for the Arts has determined for services to rationalise with the Chairman and Vice-Chairman meeting their counterparts with meetings ongoing, first time borrowers asked to nominate their choice of winning title for Braille Book of the Year, with the literary panel of Stephen Murray-Smith, Joyce Nicholson and Barrett Reid making a short list from which borrowers voted, first time presentation held in the afternoon (with increased attendence) and inaugural Narrator's Award (The Bathurst in honour of former President Hector Bathurst) to Eirene Pappas, Hector Bathurst to receive OAM, Jan Smark Nilsson appointed to National Advisory Committee on Library Services to People with Disabilities and Australia Post approval to change cassette mailing pouches.1 volume of text and illustrationsbraille and talking book library, annual report -
Tarnagulla History Archive
Photograph of unveiling ceremony for Soldiers' Memorial, Tarnagulla, Unveiling ceremony for Soldiers' Memorial, Tarnagulla, 8th November 1919
Murray Comrie Collection. The monument was created and erected by Mr. Barber of Dunolly in October 1919. It was unveiled by Brigadier General Brand C.B. C.M.G. D.S.O. at 2:30pm on Saturday November 8th, 1919. The Welcome Home Committee, formed 2nd July 1917, was largely responsible for commissioning the monument. Foundation members were Mrs. B. Patterson, Mrs J. Bock and the Misses P. Lemin, Violet Radnell, D. Dyer and Doris and Phoebe Bock. The Committee arranged 'Welcome Home' functions for each local soldier returning home after service in the First World War. Tarnagulla had a very large number of enlistments for its population. Angus M. Comrie is standing to the right of the Memorial with his daughter Mavis Comrie, and Nell Alexander. Mavis Comrie presented a new Union Jack flag to the Tarnagulla School on 25th July 1919 to commemorate Peace. Peace Medals were also distributed to the school students.Monochrome photograph depicting the unveiling ceremony for the Soldiers' Memorial monument in Tarnagulla. A large crowd is looking on, some spilling off the curb and onto the street, whilst several officials stand on a temporary platform. The obelisk monument is left of centre in the image. tarnagulla, war, military, service, soldiers, veterans, ww1, first world war, commemoration, school, war memorial, monument, comrie, radnell, lemin, dyer, patterson, alexander, bock, brigadier general brand -
Tarnagulla History Archive
Photograph of unveiling ceremony for Soldiers' Memorial, Tarnagulla, Unveiling ceremony for Soldiers' Memorial, Tarnagulla, 8th November 1919
Murray Comrie Collection. The monument was created and erected by Mr. Barber of Dunolly in October 1919. It was unveiled by Brigadier General Brand C.B. C.M.G. D.S.O. at 2:30pm on Saturday November 8th, 1919. The Welcome Home Committee, formed 2nd July 1917, was largely responsible for commissioning the monument. Foundation members were Mrs. B. Patterson, Mrs J. Bock and the Misses P. Lemin, Violet Radnell, D. Dyer and Doris and Phoebe Bock. The Committee arranged 'Welcome Home' functions for each local soldier returning home after service in the First World War. Tarnagulla had a very large number of enlistments for its population. Angus M. Comrie is standing to the right of the Memorial with his daughter Mavis Comrie, and Nell Alexander. Mavis Comrie presented a new Union Jack flag to the Tarnagulla School on 25th July 1919 to commemorate Peace. Peace Medals were also distributed to the school students.Monochrome photograph depicting the unveiling ceremony for the Soldiers' Memorial monument in Tarnagulla, 1919. A large crowd is looking on, some spilling off the curb and onto the street, whilst several officials stand on a temporary platform. The obelisk monument is left of centre in the image. The Guard of Honour in uniform surrounding the forecourt are all returned soldiers from the Tarnagulla district. They were especially drawn together to form this Guard of Honour at the unveiling. Copy of an older original, Copy probably made in 1980s-90s. tarnagulla, war, military, service, soldiers, veterans, ww1, first world war, commemoration, school, war memorial, monument, comrie, radnell, lemin, dyer, patterson, alexander, bock, brigadier general brand