Twenty page booklet, off white paper, saddle stapled, with additional red paper cover titled "The Australian Tramway Employees' Association with the Electric Supply Coy. of Victoria Limited / Agreement". Dated on cover 1919. Agreement dated 4/9/1919 Applies to both Ballarat and Bendigo. Details hours of work, rates, Sunday runs, casual rates, holidays, free passes, uniforms, window shields (windscreens) on Bendigo trams, eyesight tests, dismissals, meals, Board of Reference. First schedule gives rates of pays for all types of tramway workers and Rosters for Bendigo Eaglehawk and Cemetery line, Golden Square and Lake Weeroona line and Ballarat Rosters for Summer and winter - gives Run Nos. Signed by P. J. Pringle for ESCo and John L Abfalter Vice President and T. Jewell General Secretary for the Union. Two copies held. On Copy two "1919" written in indelible ink on front cover."Ballarat Tramway Preservation Society Catalogue No. 211" in ink on top of outside cover. Numerous notes in red ink or pencil against the various rules. "1919" on copy two. copy 2 - has schedules varied 1/2/20 and revised amounts. trams, tramways, bendigo, ballarat, atea, unions, agreements, esco

A lawn bowls contest in 1990 held at East Malvern RSL lawn bowls Club. The winner of the Dallas Brooks Trophy was Andrew Tucker and he met the previous year's winner, Thomas Tucker (no relation). The event was held annually and was a fundraiser for Legacy and well as a social event for legatees. A record of a social lawn bowls event that also raised money for Legacy.Colour photo x 4 of a bowls competition and two paper labels on pink paper.Label says 'A cheque was presented to Legatee Robertson by Mrs Hazel Williams, President fo the East Malvern RSL Ladies Bowling Club, on behalf of her members. Refreshments are served to player and spectators over the quarter finals, semi finals and finals held at East Malvern RSL. Each year the ladies kindly donate this money to Legacy.' Second label says 'These two gentlemen have more than winning Legacy's Sir Dallas Brooks Trophy in common. They each share the same surname - but no relation. Andrew Tucker (left) meets 1989 winner, Thomas Tucker.' Another label says the photos were taken on 15 Feb 1990 by the Media Officer Susie Howard. And the tournament winners were Footscray City and Runners up were Beaumaris (Jake and Son). fundraising, legatee event, bowls, trophy

This photo is probably the oldest known photographic record of the Balliang Football Club, an Australian Rules football team in the Bacchus Marsh area. Australian Rules football was played in this area as early as the 1870s. An organized competition to play regular matches was formed in the early years of the twentieth century. This item has historic and social significance as an image of one of the early sporting teams of Bacchus Marsh and district. It is a typical example of team photographs of this era. It is evidence of the transition of football from a social informal setting to an organised activity and signals the growth of importance of sport, in this case Australian Rules football, as a cultural and social activity central to the Australian ethos.A sepia photograph print mounted on mounting board, showing a group of 20 men arranged in two rows with two men reclining in front. Fifteen men are wearing horizontally striped football guernseys, one wearing a guernsey which is vertically striped. Two men wear white guernseys with a diagonal sash, one man in the back row is dressed formally in suit, collar and tie. One man, identified as the umpire, is in a white polo-necked sweater and is holding a football. The photo is taken in a clearing in an outdoor setting. It is possible to see the figures of three women in the background, two looking on from under a tree, one walking along a footpath.Above the photo in red ink:"Balliang Football Team 1912." Beneath the photo in red ink with one alteration in blue ink the names: "J.Davie, C. Bissell, F. Dodemaide (these two names showing a reversal of position), J.Turnbull, G.Dodemaide, A. Phalp, A. Bissell, A. Cashmore, J.Sharkey. R.McArthur, J.Cashmore., W. Loats, C. Smith. Elliott (ump), B.Phalp. W.Cashmore, L. Beggs. Because the number of names given does not tally with the number of men in the photo, it is not possible to accurately ascribe a name to any individual player. Underneath the hand-written names, there is a circular professional stamp of the photographer, reading: PHOTO ARTIST BACCHUS MARSH. A.BESELERballiang football team, australian rules football

London Bridge, pre 1990 was a double-spanning bridge connected to the mainland. The stack was created over hundreds of years, with the weaker layers toward the base being eroded away by wind and water to form the two bridges. The span closer to the shoreline collapsed unexpectedly on 15 January 1990, leaving two visitors, whilst uninjured, stranded on the outer span before being rescued by helicopter. Two coloured photographs of the London Bridge, on the Great Ocean Road. This photo was taken days before the collapse of the geological feature. The photographer walked across the bridge to the warning of her mother "if you go over there and it collapses you will be stuck. After the collapse it was renamed London Arch. london bridge, great ocean road, london bridge, peterborough, london arch, shipwreck coast, 12 apostles

This box which once contained linen thread manufactured in Scotland and labelled "British" manufacture" was used for the repair/manufacture of clothing by professional seamstresses and those wives required to "do" repair stitching of family clothes. This box was manufactured in a period when the title "United Kingdom" was used (late 1700's early 1900's) to describe the union of Britain and Scotland. The label however can be misleading as the"British Manufacture" thread was manufactured in Scotland. The broad term "British Manufacture" was used for the benefit of those in the "colonies" of Australia and New Zealand, during a period when the "coined" phrase "best of British, or British best" was synonymous to "top quality". After World War II the need for "cheaper products" was more persuasive than the quality of the product. In rural areas this shift to cheaper "non British" goods was at a slower rate than in the cities. Goods such as clothing manufactured or altered by seamstresses were regarded as of a higher standard and therefor the use of linen thread from "Britain" was a sign of quality and reliability.This box which contained linen thread, "British" made, is very significant to the Kiewa Valley because it demonstrates the conditions under which households in the late 1800's and early 1900's evolved from a "domestic repair /replacement" of damaged clothing to a consumer of recycled and shop bought clothing and linen. The ability of semi isolated rural based families to purchase "off the rack" clothing was severely affected by weather, long distance over dirt roads(poorly serviced) to large towns(shops), horse/cart or slower driven cars. The purchasing of clothing was, on the whole, from trading house "mail order" consignment orders.This red paper covered box has a white covered lid (top) with black print detailing the manufacturer and contents. This box contained 150 yds of linen thread 2 cord. A small added note pasted on one side "USUAL TWIST (s)" describing the thread's appearance. Two semicircular "finger" holes on two sides of the lid permit easier removal of the lid from the base.On the top lid: "W.&J. KNOX'S" below this a crest with latin motive "MOVEO ET PROFICIOR" English translation "I proceed and am more prosperous" encircling an open winged falcon. below this "LINEN THREAD", "2 CORD." "WARRANTED" "150 Yds." Made from Flax." British Manufacture". On one side "DRABS SOFT FINISH" within a shield "KNOX'S TWO CORD 150 YARDS 30" next to this a trade mark "W & J KNOX below this "made in KILBIRNIE, SCOTLAND"thread, cord. flax, box container, linen thread, seamstress items, cardboard box

Two colour photos of altar stones inside St. Patrick’s Catholic Church. One of the altar stones was erected in memory of the McLennan family. The other is of the 12 apostles at the last supper. Two colour photographs of Altar stones inside St. Patrick's Catholic Church. The photos are also in Album 2 p.54. One photo is of the 12 apostles at the last supper. The other a memorial to past members of the McLennan family.A-M-D-G This altar was erected by Angus McLennan of Stawell in memory of his deceased parents John and Isabella McLennan and his deceased brothers Duncan and John - 30th December 1927stawell

Two Legacy widows from the Highett Legacy Widows Club. On the left is Mary Brooks the vice president and Jean Wolstencroft the secretary. Keesing Photographers took a series of photos on the same day of various ladies and some were committee members at different clubs. Presumably there had a been a meeting at Legacy House of members from the many clubs (including Hampton, Highett, Caufield). It is assumed that the date was 1991 due to the reference number from the photographic studio 911030B-14 could mean 3 October 1991, along with 00646, 00648, 00649, 00650, 00651. Photos of the committee members of different Widows clubs were taken by a professional photographer.Black and white photo of two Legacy widows from the Highett Legacy Widows Club and a proof sheet 911030B.Label on the back from Keesing Photographic with Reference No: 911030B-12.widows, widows club, committee

These cards, presumably part of a pack of cards (or two packs) are an advertising tool for Warrnambool rugs made by the Warrnambool Woollen Mill. The Warrnambool Woollen Mill in South Warrnambool was opened in 1910 with John Bennett the first manager. It produced woollen blankets and rugs and woollen products during the war years for military purposes. It closed in 2000.These cards are of interest as an advertising tool for the Warrnambool Woollen Mill which was a major industry in Warrnambool for 90 years. It shows the advertising techniques used by businesses in the 20th century.These are two regulation-size playing cards, both showing the five of clubs, with a colour advertisement for Warrnambool Rugs on the back. The advertisement features an assortment of Warrnambool woollen rugs. On back of cards – ‘Warrnambool Rugs, pure wool’warrnambool woollen mill, cards

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

The wings of the pessary are controlled by two small hinges and the screw at the base of the metal stem. These wings can be opened or closed by turning the screw clockwise or anticlockwise.Zwanke's intrauterine stem pessary. Consists of two black vulcanite wings, a stem, and a screw. Stem is made up of three curved metal prongs, which fit into a small metal cup at the base. Screw is made of vulcanite with a small metal stud on the underside. intrauterine device, pessary

In 1951 - in the context of the Cold War - the Menzies government established the 'National Service Act 1951', which called-up men for compulsory military training for a period of 176 days. The 14th Battallion was located in Victoria. The coat has historic significance in the wider context of Australia’s involvement in the Cold War (particularly in Vietnam) and in the establishment of a National Service Scheme. Olive green army man coat with four outside pockets - two on the chest, two at the bottom; each pocket has one metallic button attached. Coat has a metallic zip as well as metallic buttons; two velcro scratches at the wrist level. Extra removable padding inside, which is attached with plastic buttons. Two identical inscriptions on right and left shoulder reading '14 National Service Battalion'. Two identical inscriptions on right and left shoulder - reading '14 National Service Battalion' Manufacturing details on the inside reading: Coat, Cold weather, Man's, Field M-65. Olive green colour. Style 8120/8542 DSA 102-81-C1204. 1. Wear as outer garment or as under-layer in cold-dry climate. 2. Wear button-in liner for added insulation. 3. Adjust closures and drawcords to ventilate; avoid over-heating of body. 4. When hood is used, lower extension shall be worn over neck opening, preventing water. 5. Brush snow or frost from garments before entering opening. 6. For fast drying, remove liner from coat. 7. Do not expose to high temperature of a stove. 8. Lubricate slide fasteners with wax. 9. For cleaning and restoring of water repellency return to laundry for machine washing in accordance with established procedures for quarpel garments. 10. Do not starch. Do not remove this label. Black ink pen inscription on manufacturing label reading '3/715875' and 'N.Wain'war, army, coat, man's coat, australian army, military uniform, national service scheme, cold war, vietnam war

These type of marking crayons have been in use from the 1800s onward to mark commercial and non commercial goods and articles that require waterproof and visual identification labels. Items such as bales of wool, tobacco tags, transportation tags(shipping, rail and road) and other "hard to mark" items that require information to be displayed by semi permanent waterproof signage. The crayons are also an advantage for young student art work.This particular box of leviathan crayons was in use by students in the Mount Beauty Primary School through the Victorian Education Supply Department. As the texture and adhesive/application qualities (soft medium and hard) allows students to be "creative" on various type of canvases. This type of application in schools is of a non commercial and simplistic art -form nature however more advanced students could present a commercial interest in a viable creative artistic venture. The major commercial and non educational uses are encompassed in a rural grazing and farming regions, of the Kiewa Valley and adjoining lands.The crayon box is made from cardboard and light buff colour. The box contains six "No.1" crayons, two of which have been used. Each crayon is wrapped with manufacturer's details on 180 gsm thick paper. The wrapper runs nearly 4/5 th of the entire length, leaving 1/5th open to display the colour of the crayon. The colours of the crayons are blue, purple, green, yellow, red and black. These crayons provide a waterproof writing, sketching and numbering method and are available in soft, medium and hard texture.Within a chain border and on two opposite sides of the box: "1 Dozen No.1", and below this and underlined "Leviathan Marking Crayons" and below this "Indispensable for all Marking and Checking purposes Waterproof and will not rub off", below this "SUPPLIED UNDER GUARANTEE"waterproof, freehand marking and artworks, school waterproof art, commercial identification marking of rural produce, school art, waterproof labelling

Gives details of the split of the tram division of the Public Transport Corporation Vic to come into effect on 1-10-1997 into two business divisions - Yarra Trams and Swanston Trams. Includes a map showing which entity was to operate what section of Melbourne Trams. Prepared for employee information. Provides information on who would be the senior managers, a timetable, depots and routes to be operated and the logos that would be used.Yields information about the split of the Public Transport Corporation Tram division in preparation for the future privatisation. Pamphlet - photocopy titled Pamphlet - It's business as usual about the split up of the PTC to Swanston Trams and Yarra Trams. Two copies held.trams, tramways, yarra trams, swanston trams, ptc, managers, depots, public transport corporation

The two storey building in the photograph is the Royal Hotel. The original single storey hotel was damaged by fire in the 1930s so the double storey red brick building replaced it on the same site, which is at the intersection of Evans and Brook Streets. For many years the MIllett family owned and ran the hotelThe Royal Hotel is one of four hotels that operated in Evans Street between Station and Brook Streets. Only two of those hotels are operating on their original sites. The other two have been demolished and replaced with retail businesses.An enlarged black and white non-digital photograph with a narrow cream border of a streetscape of an intersection with a two storey brick building on one corner and cars park by the kerb outside the building.royal hotel, millett family, evans street, brook street, hotels

Slide photographs of two Stanhope residents prepared to go to the ball held in honour of Princess Alexandra's visit to Melbourne in 1959. The ball was held at the Melbourne Town Hall. Elizabeth Brown (on the right) was a resident at Stanhope after her father died in 1953 and she came to Melbourne from Seymour to compete further studies at Toorak Teachers College. She was chosen to present a bouquet to Princess Alexandra at the Royal Ball. Elizabeth wore a pink taffeta gown and was accompanied by a Legacy boy, Julian Hyde. The handwritten note implies it is the visit of the Queen Mother, but it was a ball held to welcome Princess Alexandra in September 1959. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of of a Legacy girl being chosen to participate at an important event.Colour slide x 4 of two Stanhope ladies in ballgowns, in a beige Anscochrome mount.Handwritten on reverse 'Stanhope girls. Visit of Queen Mother' in blue pen.junior legatee, royal visit, ballgown, stanhope

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

In 1984, the Bendigo Operatic Society changed its name to the Bendigo Theatre Company. In 1989 the company produced two shows; its 84th production was "Annie Get your Gun and its 85th production was the pantomime "Cinderella". These tickets would have been for "Annie Get Your Gun" in June 1989.Bendigo Theatre Company Inc, Two Tickets, for date 15th June 1989 Seat Numbers: i9 & i10, Adult tickets Blue printed tickets with black writingtickets, bendigo theatre company

No information is available on these two items which would have been collected and polished by someone, probably someone interested in lapidary. The quartz would probably not have come from our area (Western District of Victoria).These items have no known local significance and will be useful only for display. These are two white quartz crystals with gold and silvery encrustations and markings. They are rough on the top and cut into geometric shapes and polished on the bottom part. The larger piece seems to have been fused together or split at one stage. quartz crystals, warrnambool

Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.abermore pty ltd, heritage studies, tacey family butchers, surrey hills, canterbury road, (ms) natica schmeder, sherry james, jo james, (mr) mark marsden, (mr) bryce raworth, 2011, 1897

In WW2, this badge was issued to the nearest female relative, that has a service member abroad. Each star on the bar is for a serving member. Badge A293587, was issued to GREEN, C. Of 'Morneve'. Leopold street, Kangaroo point, Inverloch, VIC. Her relationship is noted as (S) sister of Denis and (E) of Annie. The two stars were for these Defence Force members:- V315242. BOURKE, Denis Patrick. Discharged 1 APR 1946 of the 39 WORKS Coy. VF389600. BOURKE, Annie Irene. Discharged 15 FEB 1946. Unit was Aust. Womens Army Service. A circular silver badge. Around the circumference are oak leaves. At the top is a Royal Crown. In the center of the badge is a map of Australia, which is surrounded by a leaf pattern. Between the two rings of leaves, are the words "to the Women of Australia". Suspended beneath the badge is a rectangular silver bar. On that bar are two gold stars.On the rear is stamped the number A293587.mothers badge, ww2

Colour slide of legatees standing by two cars a timber yard near Eildon. It was during Operation Firewood. Legatees would organise collection of wood from the country and distribute it to widows in metropolitan Melbourne. Other slides show the cutting and loading of wood and delivery to widows in metropolitan Melbourne. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of Legacy helping widows by sourcing, supplying and delivering firewood. When open fires were the main source of heating, a load of firewood and help moving it, would have been very important to the widows.Colour slide of legatees beside two cars in a timber yard during Operation Firewood in brown Anscochrome cardboard mount.Printed on front in red ink 'Anscochrome / View from this side / Made in Australia'. Hand written on front 'Eildon / After the job is done' in blue pen. Printed on reverse in red ink 'Processed by Verycolor photo labs. Melbourne, Victoria'.operation firewood, cars, wood

A magazine published about World War Two. It contains black and white photos and articles about the war. It is 40 pages long. The pages are numbered from 513 to 544 as the weekly editions are intended to be bound together to make a volume about the war.Photos and articles from World War Two that would have been significant to the legatees as they were all returned servicemen.A magazine containing black and white photos from World War Two. Full title is The War Illustrated. Vol 1 No 17. 29 December 1939. The Weekly Record that Grows into a Splendid Book. soldiers, world war two

The pamphlet documents the agenda for the Ruyton Girls' School athletics sports carnival hosted at Glenferrie Oval on Wednesday, 26 April 1950. The program outlines a series of activities to be undertaken by junior and senior school students (including day girls and boarders), including crossball, potato sack race, hockey dribbling, egg and spoon race, relays, baseball throwing, and obstacle courses. Each sport is divided into age brackets including under 14, under 16, and 16 and over. The pamphlet also acts as a scorecard, featuring columns for recording results, points scored, progress points and times. Ruyton Girls' School has an exceptional reputation in school sport. The School is a member school of Girls' Sport Victoria (GSV), a large sporting association involving 24 independent girls’ schools in Melbourne. Girls in the Senior School have the opportunity to compete in a range of sports over the four terms and at three major carnivals; Swimming and Diving, Cross Country and Track and Field. Ruyton also has a very successful Rowing program and participates in the Victorian Interschools Snowsports Championships.The record has strong historic significance as it gives insight into the House system at Ruyton Girls' School; in particular, how the House system is used in a sports context. In the early 1920s, Ruyton was settling into its new home at Selbourne Road, Kew. At the time, students were arranged by their form (or year level) for lessons and other school activities. A collection of eight emblems and mottoes for each form group was published in the Ruytonian December 1922, although the genesis of each were left unexplained. With enrolments continually growing, Principal Miss Hilda Daniell felt a new basis of organisation would benefit students, giving them a broader outlook and something bigger to work for. She took inspiration from tradition and implemented a House system. The House system was adopted at Ruyton in September 1924 to "provide a new kind of co-operation and competition among the girls, especially in Sport." There were four houses, three of which were named after early Principals: Anderson, Bromby and Lascelles. There was also the School House, initially for boarders only. Some time after the publication of the Ruytonian in April 1928, the School House was renamed Daniell House, and had opened up to day girls. The account published by the newly formed Daniell House in the Ruytonian December 1928 reads, "we are rather bashful in presenting this account of our doings, for we are conscious of our newness. Our house has now the honour of being known as Daniell House." Four of the original eight form emblems were adopted by the new Houses, while the others were discarded. According to former teacher and author of the centenary history of Ruyton, Ms Majorie Theobald, the House system "gave a new focus for all competitive sport, which had previously been organised on a rather inequitable basis." The colours chosen for the Houses were cherry red for Anderson, royal blue for Bromby, gold for Lascelles, and pale blue for School (later Daniell). New students starting at Ruyton from Prep onwards are allocated to one of the following Houses with consideration to family connections and balance of numbers. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection of a former notable student.Pamphlet printed on cream coloured paper with navy blue ink. Two pages, folded in half.Obverse: tenns allowed 2 flat 3 teas 1 relay / 1 noveltie / 3 every thing entered in. / move for heats / Lanes 5 - 2 / First Page: under 15 50 yds. / 2. / 3 under 15 75 yds. / 4 / 5 / 6. Junior Crossball. / 7 / 8 / Second Page: 9 / 10 under 15. / 11 / 12 / 13 / 14 under 15 / 15 / 16. / Reverse: 21 Diamond Throwing open / 22 / 23 under 15 / 24 / 25 / 26 / 27 / Diamond / 28 / 29 / 30 / 31 / 32 / Junior under 15 1st July 1 Junior relay (?) / under 15 / Two sprints and potato go for championships /ruyton girls' school, students, school, ruyton, victoria, high school, senior school, day school, letter, old ruytonians association, kew, sport, school sport, girls' sport victoria, house, anderson, lascelles, bromby, daniell, athletics, glenferrie

Firedogs is the common name for andirons and Chenets and have been in use since ancient Greek times. Firedogs are the decorative metal supports or stands that hold logs in a fireplace, allowing air to circulate around the fire to keep it burning, and preventing logs from rolling out of the fireplace. They are usually made of metal, cast iron or steel, but are sometimes ceramic. They have two feet joined across the front and one at the back. Some firedogs, mainly for kitchen use, were plain with forked uprights so that a bar could rest between them on which a cooking pot or a roasting spit could hang. Some firedogs are made in the likeness of animals, shields, crosses, figures and keys. This pair of firedogs are representative of the firedogs that were common to domestic use in previous centuries when home heating and cooking were only possible with open fires. Firedogs or andirons, pair of two decorative cast iron log supports for use in a fireplace hearth. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fire dogs, firedogs, fire grates, log stands, domestic furniture, open fireplace equipment, andirons, chenets, domestic heating

Caption reads: "This is the Rutherglen police station, which was described as a 'disgrace' at Rutherglen Shire Council's meeting last Friday. Walls of the tiny station are riddled with white ants and the two lock-ups at the rear are primitive. The station is said to be more than 80 years old and entirely out of character with its surroundings -- the pleasant civic square. The condition of the buildings will be brought to the attention of the Victorian Police Commissioner and Public Works Department." The two lock-ups mentioned are now (2018) property of the Rutherglen Historical Society, and are located at the back of the Museum awaiting renovations to make them into a display.Black and white photocopy, that seems to have been from a newspaper article, showing a photograph of a small cottage that served as a police station in Rutherglen for some years. The photograph and its caption are printed on two sheets of paper.Written at the left side of the photo: "Police Station Rutherglen 1965" police station, rutherglen shire, cells, lock-up

Hard navy blue buckram cover. Gold print on front & spine. 111 cut, plain, white pages. No illustrations.Front cover in gold print: “Worth a Mention. Members of the Australian Army Mentioned in Despatches in World War Two”book, mention, mid, despatches