Chad Valley produced fine hand-cut wooden puzzles in the 1920s and 1930s. A UK-base dcompany they commenced as a printing business in 1820. They diversified into toys including teddy bears and games from the late 1910s. It is interesting to note that the A.A. Milne Winnie-The-Pooh' books were first published in 1916, 1927 and 1928. 120-piece Chad Valley wooden jigsaw puzzle. Made at Harborne, UK, circa late 1920s. In original book-shaped box with Winnie-the-Pooh on one side and an owl on the reverse. Complete. This puzzle was a gift of Enid Barker of Derby Street, Kew.Jig-Saw Puzzle / 120 wooden pieces / Chad Valleychad valley, winnie-the pooh, games and puzzles, jigsaw puzzles

The painter of the work is unidentified. While the frame was made in Brisbane, the artwork is likely to be European in origin. The framer, William Lewis Hamilton, trading as A.L. Hambleton is listed in a Commonwealth of Australia Gazette of 1917. (No.113) in an application for copyright. The donor's ancestors, who included a number of amateur artists, lived in Coorparoo, Queensland.Oil on canvas mounted in an elaborate gilt wooden frame. The painting depicts a donkey and chickens in a barn. Donated by Rosemary Vaughan-Smith. A label on the frame is partly readable. It indicates that the frame was supplied by A.L. Hambleton, Kents Building, cnr Adelaide and Albert Streets, Brisbane.See note on label abovevaughan-smith collection, farmyard scenes, oil paintings

Previous owners: Phillips Fox"The Industrial Reports are Australia’s only specialist full-text case report series on industrial and employment law. The Industrial Reports are the authorised reports of Fair Work Australia and the Industrial Relations Commission of NSW. The series also provides relevant decisions of the High Court, Federal Court, State and Territory Supreme Courts, and Federal and State Industrial Courts and Tribunals. Each reported case includes a detailed headnote highlighting the key issues and decision in the case. The Industrial Reports online archive begins from Volume 1 and includes PDF versions of the cases. The series is integrated with other Westlaw AU services including FirstPoint (subject to separate subscription), allowing users to quickly check the history and current status of every reported decision." from: http://www.thomsonreuters.com.au/industrial-reports-parts-only/productdetail/19996 No. of volumes: 157 Volume range: Vol. 9 parts 1-5 (1985) (unbound), Vol. 29 (1988-1989) - Vol. 168 (2007) (bound), Vol. 169 parts 1-4 (2008) (unbound), Vol. 170 parts 1-2 (2008) (unbound), Index Vol. 1-40 (1981-1992) (bound), Index Vol. 41-80 (1991-1998) (bound), Index 81-105 (1999-2001) (bound), Consolidated index Vol. 126-145 (2003-2005) (unbound), Consolidated index Vol. 126-150 (2003-2006) (bound) + Consolidated index Vol. 151-165 (2006-2007) (unbound) Missing volumes: Vol. 10-28, Index 106-125 Note: Vol. 140 is an Anthology covering 1990-2003 Editors: Hungerford, B. C. (Vol. 9) Peterson, R. J. (Vol. 9) Wright, F. L. (Vol. 9 - 81) Thomson, A. (Vol. 82 - 170 part 2) Anthology editor: Phillips, J. ISSN: 07288417arbitration; industrial -- australia -- law and legislation

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Sepia postcard of Kew State School and what appears to be the building of a new fence. Note the fleche towers on the roof at right. postcards -- schools -- kew (vic.), kew state school, kew primary school, christian-washfold collection

Government House, Melbourne was constructed between 1972 and 1876 to a design of William Wardell. The interiors including the ballroom were created soon after the building's opening. The Victorian Heritage Register citation notes that the extravagant single storey State Ballroom occupies the entire south wing. The slide is significant as it represents the decoration and furnishings of the State Ball Room in 1979.One of six colour transparencies, purchased from John T Collins of interior and exterior views of Government House, Melbourne. This photograph (slide) is of the entrance to the State Ballroom."South Yarra Government House Ballroom J Collins 17-10-79"government house -- melbourne, victorian interiors, ballrooms -- melbourne (vic.), john t collins

Government House, Melbourne was constructed between 1972 and 1876 to a design of William Wardell. The interiors including the ballroom were created soon after the building's opening. The Victorian Heritage Register citation notes that the extravagant single storey State Ballroom occupies the entire south wing. The slide is significant as it represents the decoration of the State Ball Room in 1979.One of six colour transparencies, purchased from John T Collins of interior and exterior views of Government House, Melbourne. This photograph (slide) is of the coffered ceiling of the State Ballroom."South Yarra Government House Ballroom J Collins 17-10-79"government house -- melbourne, victorian interiors, ballrooms -- melbourne (vic.), john t collins

Government House, Melbourne was constructed between 1972 and 1876 to a design of William Wardell. The interiors including the ballroom were created soon after the building's opening. The Victorian Heritage Register citation notes that the extravagant single storey State Ballroom occupies the entire south wing. The slide is significant as it represents the decoration of the State Ball Room in 1979.One of six colour transparencies, purchased from John T Collins of interior and exterior views of Government House, Melbourne. This photograph (slide) is of the State Ballroom."South Yarra Government House Ballroom J Collins 17-10-79"government house -- melbourne, victorian interiors, ballrooms -- melbourne (vic.), john t collins

Frederick J. Robinson, a manufacturer, was the owner and occupier of a nine-roomed brick house by at least 1934. At that date the N.A.V. for the property was £270 while in the following year the N.A.V. increased to £350 with a note of 'additions' being made, recorded in the Rate Books. By December 1936 Robinson's house was being described as having twelve rooms and an N.A.V. of £295. The works were undertaken for Robinson by the leadng architect, Harold Desbrowe Annear, and appear to have been a comprehensive remodelling of the Victorian house on the site, the outline of which was clearly depicted in the MMBW plan of 1903. 'Fairview' is of significance as a comprehensive remodelling of a Vietorian house undertaken in the 1930s by the leading architect of the time, Harold Desbrowe Annear. The 1930s are integral to the significance of the whole. (Kew Conservation Study, 1988)Colour photographic positive of Cluny Convent (formerly 'Fairview') remodelled by the architect Harold Desbrowe Annear in the mid 1930s. cluny convent -- kew (vic.), fairview -- 34 wrixon street -- kew (vic.), harold desbrowe annear

Frederick J. Robinson, a manufacturer, was the owner and occupier of a nine-roomed brick house by at least 1934. At that date the N.A.V. for the property was £270 while in the following year the N.A.V. increased to £350 with a note of 'additions' being made, recorded in the Rate Books. By December 1936 Robinson's house was being described as having twelve rooms and an N.A.V. of £295. The works were undertaken for Robinson by the leadng architect, Harold Desbrowe Annear, and appear to have been a comprehensive remodelling of the Victorian house on the site, the outline of which was clearly depicted in the MMBW plan of 1903. 'Fairview' is of significance as a comprehensive remodelling of a Vietorian house undertaken in the 1930s by the leading architect of the time, Harold Desbrowe Annear. The 1930s are integral to the significance of the whole. (Kew Conservation Study, 1988)Colour photographic positive of Cluny Convent (formerly 'Fairview') remodelled by the architect Harold Desbrowe Annear in the mid 1930s. cluny convent -- kew (vic.), fairview -- 34 wrixon street -- kew (vic.), harold desbrowe annear

hand written note ww1, world war 1, aif, a.i.f, hand written

This note to the local milkman was associated with the milk bottle from the Wattle Park Dairy, which was purchased by Robin Kelly from a home in Surrey Hills in the 1970's or 1980's. This dairy was established by Horrie Breeden. The Breeden family came to Surrey Hills in 1905, first to Guildford Road, then Middlesex Road where Horrie Breeden lived as a boy. He sometimes used to help with milking at the adjoining Kenneally's dairy in Highfield Road. Sometimes he and his brother drove the cows from there to Schneider's property near Florence Road on the way to Surrey Hills Primary School. The cows would graze here until the boys took them back after school. At other times he would deliver milk from the Croydon Road dairy (Isherwood's or Bovill's) to St Joseph's Boys Home before school. Horrie became an apprentice in woodwork / carpentry at Vine's timber yard before serving in World War 1. Horrie's father died in 1919 and in the same year he bought 3 cows and established his own dairy on his mother's property on the corner of Goodwood Street and Boisdale Road. In the 1920s Horrie built the first house in Goodwood Street. He went on to build others in the street including his own at No 7 Goodwood Street. He did all the joinery and internal fittings for this. [Oral testimony: Horrie Breeden to Jocelyn Hall in 1979.] In the first half of the 20th century there were many local dairies in Surrey Hills and Mont Albert. In those days home deliveries were comparatively informal. This note to the milkman is material evidence of this. A rectangular wooden T-shaped note; the vertical part extending from middle of the lower edge and the upper part wide enough to balance on the top of a milk bottle.In grey lead pencil: " 1 pint / extra"dairies, milk delivery

.1 Leather bag, leather pocket at front, leather straps fixed to bag by metal half circle rings. Metal clip and compartments. Looks to be hand sewn. .2 Currency - Silver coin .3 Currency - Bank of Victoria, Ten Pound Note .4 Currency - The Caledonian Banking Company, One Pound NoteNilcash bag, currency, ned kelly film

These books belonged to Goldsworthy R.W. Stawell when a Student at School of Mines - 1 Book contains information re chemistry assaying ect. Other book contains working hours - Not at Stawell- Notes taken from Food in Health and Disease by Burney J. 1890641-1 Conatins Miscellaneous material. Re Wages - Loads of material for crushing Plants, firewood, etcRichard Morcom Goldsworthy School of Mines Skene Street Stawellstawell education

Tourist Guide to Stawell and The GrampiansGreen paper cover with Red, Yellow & White Print. Centre of page is a colour photo of the Grampians. Red Test. "Stawell and Grampians" inside white triangle "Stawell & Grampians Promotion". Yellow Print Tourist Guide" Inside a white segmented circle, white Print "5th Editon $1" Inside Yellow outlined rectangle with yellow Print. "Contains: WHAT TO SEE & DO REFERENCE MAPS NOTES ON 5 TOURS 28 GRAMPIANS WALKS 9 SPECIAL FEATURE ATICLES ACOMMODATION & BUSINESS GUIDEstawell tourism

1 volume, various pagings.publication, conference, notes, north, eastern, apiarists, victoria, beechworth honey

Jocelyn Hall indicated in notes that the gentleman could possibly be an estate agent. This was confirmed by a grandson of the original owners. (REF: Email 1/8/2020) The original photos is thought to have been a publicity photo for the real estate agency. Carl Theodore Offszanka (1874-1944) was born in Germany. He is listed in electoral rolls at 44 Guildford Road from 1915, occupation furrier, with his wife Ida (nee Schade, 1882-1963), also born in Germany. They were married in Victoria in 1908. In later electoral rolls at the same address are Erna Helena (b 1913; d 1996) and Maria Eliese (b 1910; m Benedict Francis Rieusset in 1936). Both daughters are listed as typists. Also listed is Bernard George (b 1914; d 1987) who in later electoral rolls is described as a process worker. He served in the AIF in the Second World War. Not listed is Carl Bernard b 1909. The Offszanka family lived at 44 Guildford Road from 1913 until post-1980; they came to Surrey Hills from Richmond. Their home was called 'Westfalia' (ref: 1919 electoral roll), presumably after the region in NW Germany. It is not known when Carl and Ida migrated from Germany. This home has had a 2nd storey added to it in late 1990s. According to a family descendant (REF: Email 1/8/20 from grandson) Carl Theodor Offszanka purchased the home in 1913 for £616. He also purchased the adjoining vacant block of land at 42 Guildford Road and ran a large orchard on it before later selling it. This appears to have been between 1920-1930. The family continued to occupy the house until after 1980 when Erna Helena and Bernard George are listed in the electoral rolls. Our property register lists Erna Helena Offszanka as the last member there. She died on 5 May 1996. The Offszanka family occupied this home from its beginning for over 70 years. Such long-term occupancy by one family is unusual.Black and white photo of a ? dark-stained timber Edwardian home at 44 Guildford Road, Surrey Hills. A hooded buggy is located in the rough driveway at the side of the house. A gentleman in a hat and with a moustache is seated in the buggy. A tall building can be seen in the far distance and a street leading up the hill from Canterbury Road.edwardian style, houses, guildford road, horse drawn vehicle, carl theordore offszanka, miss ida schade, mrs ida offszanka, miss edna helena offszanka, miss marie elsie offszanka, mr bernard george offszanka, estate agent, mr carl bernard offszanka, westfalia

Previously on display at the National Wool Museum on level 1 in Gallery 2 foyer.Framed illustration showing the external view of the Dennys Lascelles Austin & Co. wool and grain warehouse, including the Bow Truss Building. A car, horse drawn cart, people and a steam engine are shown on the street in the foreground.Front: DENNYS LASCELLES AUSTIN & CO. / WOOL & GRAIN BROKERS, GEELONG. / WOOL & GRAIN WAREHOUSES GEELONG. Back: NORMAN BURN / (LATE OF CHARITY'S) / Art Picture Framer / And / Repairer of Pianos & Organs / NOTE ADDRESS: / 15, JAMES STREET, GEELONG / (Opposite Davies Furntiture Warehouse).dennys lascelles wool store, austin, bow truss building, wool, geelong

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

Male wool shirt made in Bradford, U.K. The shirt is cut from first fabric woven from 100% traceable Australian wool. Bradford Mills differ to Australian mills in that the entire process of producing worsted material does not take place at the one firm/factory. Rather it is split between many firm/factories specialising in their task in the production of worsted material. For example, the wool goes from merchants to combers to produce tops, the tops to spinners to produce yarn and then the yarn is sold to manufactures who weave it into cloth. After the weaving is done the cloth has to be sent to the dryers and finishers, who scour, dye and finish the cloth. Finally, the finished cloth is purchase by a fresh set of merchants, who will later sell the cloth elsewhere in England or abroad. At each these steps a new firm is handling the wool/cloth making it hard to track lineage of wool through this process and hence hard to guarantee 100% Australian wool. This shirt was purchased and worn by the donor’s husband, George H. Gerber, an Australian Wool Buyer. The shirt was purchased on one of George’s trips to Bradford in the U.K. on company business. Gerber was a second-generation Wool Traders in his family. His father, also named George H. Gerber, worked for Kreglinger & Furneau. He worked for them in Boston, U.S.A. before he died from the Spanish Flu in 1918. The company then promised a job to his oldest son (donor’s husband) once he finished school. Thus, George came to be trained as a Fine Wool Classer by Kreglinger & Furneaux (Aust.) Pty Ltd where he was employed as a Wool Buyer all his working life. He retired in 1969 as the head of their Australian office when the company was taken over Also of note, the shirt was sold with 2 add-on collars. Having additional collars was advantageous as changing only the collar increased the number of days the shirt could be worn without washing. Cream coloured shirt with black and red single thread verticle stripes.“Grandpa” collar (with 1 of its 2 supplied add-on collars included). French cuffs. Sold with 2 add-on collars, hence both ends of the collar have buttonholes to take a stud, and a partially-opened button-hole is at the centre of the neck on the outside of the collar for a second stud.Letering label on shirt: GENT’S OUTFITTER Herbert Winfield 23 CHEAPSIDE, BRADFORDbradford, u.k, kreglinger & furneaux (aust.) pty ltd, 100% australian wool

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: Colvan Charity Cup Golf Day raffle winner receives car from Bib Stillwell, Frank Moorhouse wins Braille Book of the Year with Barrett Reid, Dr Stephen Murray-Smith and Lloyd O'Neil making up the judging panel, luncheon to celebrate Alice McClelland's 54th year of service to the library, rationalisation of Moon books with RBS NSW, popularity of Fraser Twins Sound magazine, retirement of published Lloyd O'Neil from judging panel and appoint of Joyce Nicholson, death of Joan Armytage, former auxiliary organiser then committee member and renovation of library and construction of talking book room and recording studios (in notes to accounts).1 volume of print and illustrationsbraille and talking book library, annual reports

In 1924 plans were submitted to the RVIB board for the addition of a new veranda and associated drainage pipes located in the courtyard behind Ormond Hall. Hand written notes on the plan indicate that the tender for materials from Pollards was 330 pounds, asphalt 35 pounds totally a cost of 365 pounds. And that additional costs of 120 pounds, comprising of 20 for G Lavatory (?) and J Famdy (?) 100 pounds.1 architectural plans for proposed verandah and drainageStephenson & Meldrum, Architects Collins Court 374 Little Collins Street Melbourne Phone: 6990royal victorian institute for the blind, plans