Mabel Beatrice Josephine Tully was born to John Patrick Tully and Mary Elizabeth Dole at White Hills on 16.07.1896.. Mabel lived in the family home at 61 Charleston Rd. Bendigo and was employed as a saleswoman until she married John (Jack) Killeen in 1925. Jack was a junior postal worker. Mabel's father John Tully died on 11.08.1926. In 1927 Mabel and Jack were living at 70 Abbott Street Bendigo. Mabel did home duties and Jack was employed as a postal linesman. In 1931 Mabel and Jack were living back at 61 Charleston Rd Sandhursr East. In 1937 Jack was working as a barman, and as a fruiterer in 1943. Mabel's mother died 11.01.1941. Mabel's husband Jack Killeen died on 22.06.1975 aged 79 years. Mabel died on 7.01.1987 aged 90 years. She is buried in the White Hills Cemetery.Margaret Tully Collection: Four coloured photographs around Kerang and Koondrook. The postcards do not have a stamp and are not posted. 11123.9 A - colour postcard showing a "Barge on Murray, Koondrook". Postcard directed to Master J. Tully, 61 Charleston Road, Bendigo, from Miss Mable Dole. 11123.9 B - A B&W photograph sowing Wellington Street, Kerang; it features horse drawn cats , a man and his horse and a dog. The postcard is directed to Mabel, from Little Bruce; it enquires about health and complains he did not get any post and so feels neglected. 11123.9 C - This B&W postcard shows twelve Ostriches at "The Ostrich Farm, Kerang". The postcard has not been used, no message on the rear. 11123.9 D - This B&W postcard shows the Water Tower, Kerang". The postcard has not been used, no message on the rear. A handwritten message on each of the postcardsmabel tully, diverse postcards

Captioned class photo laminated upon blue cardboard with students standing and seated behind blackboard reading, SS 1189, 1946, Grade 1A. Names of students enclosed upon card at later date. These read ; BACK ROW. Len Watts, Lyle McMahon, Robert Pocock, Peter Young, Jeffery Wild, Ray Banfield, Ian Sheffield, Tom Rowe. 3RD ROW. Jim Coombes, Murray Mc Donald, John Hope, Clyde Boland, Barry Hawley, Peter Hyden. 2ND ROW. Dorothy Watson, Beverly Coglan, Ruth Reddick, Barbara Bullen, Rhonda Mathews, Valerie Lewis, Donna Roberts, Jean Ipsen, Lynette Hawley. 1ST ROW. Helen Marcolo, Yvonne Pocock, Norma Knight, Sylvia Tebb, Janice Bodilly [Prep] , Ruth Bodilly, Sue Clayton, Noel Riley, Bernice Turner. FRONT. .. .. .. , Penelope Wallace.bendigo, institutions, golden square primary school

Bendigo Advertiser "The way we were" from Saturday, June 12, 2004. Youngsters: Eaglehawk High School's form 2B from 1966. Back row: Ray Thomason, David Neale, Bruce Taylor, Eric Pascoe, Peter Mitchell, Michael Summers, Geoff Sang, Tony Lobb. Second row: John Payne, Bill Miller, Robert Lougoon, Russell Johnson, Murray Rankin, Robert Landgren, Garry Neate, John Steele. Third row: Jenny Lewis, Barbara Turner, Les Palmer, Rodney McCurdy, Bruce Meager, Jim Weymouth, RonStrauch, David Wright, Susan Oswald, Karen McMillin. Front row: Helen Lamaro, Carol Yates, Linda Williams, Sherrie Smith, Marcia Makepeace,Daphne Oates, Anne Zimmer, Jan Thomas, Leslie Nowell, Ruth Norris, Lynette Reed.newspaper, bendigo advertiser, the way we were

Black and white copy of a sketch by Mr. J.A. Panton, Resident Commissioner) of the Bendigo Government Camp in 1853. Key to sketch: 1. Gold Office, 2. Guard Room Tent, 3. Officers' Mess Tent, 4. South Australian Commissioner's House, 5. South Australian Gold Office, 6. Sub-inspector of Police, 7. Resident Commissioner's (Panton's) Tent, 8. Assistant Commissioner Cockburn, 9. Assistant Commissioner Barnard, 10. Escort Office, 11. Assistant Commissioner McKenzie, 12. Assistant Commissioner Murray, 13, Officer Commanding Detachment 40th Regiment, 14, Gold Commissioner Jones, 15. Officer's Stables, 16. Inspector of Police, 17 & 18. Police Barrack, 19 Military Barracks, 20. Lockup on Gaol Hill. Purple stamp on back RHSV, Bendigo Branch.place, bendigo, bendigo flat

Series of 7 photos showing track removal following the closure of the Ballarat Tram system.Yields information about the removal of the tram tracks in the city area.Set of 7 colour slides - 1 x Agfa blue and white plastic slide mount, 4 Hanimex cardboard mounts and 2 Kodachrome cardboard mounts of track removal works in Ballarat, c1971 to 1972 .1 - Saw cutting the road pavement at the Dawson St Crossover. .2 - Rolling the crushed rock pavement in Sturt St after track removal - near Doveton St. .3 - Track repairs or starting to remove the railway crossing at Lydiard St North - has an SEC truck in the background and the Kennedy Murray Pty Ltd General Carriers building in the background. .4 - commencing work on the Dawson St Crossover removal with St Patrick's Cathedral in the background. .5 - as for .2 .6 - L. G. Pearce excavating track near Dawson St. .7 - ditto Photo from the collection of Lilian Butler. ballarat, tramways, trams, track removal, dawson st, trackwork, sturt st, level crossings, lydiard st north

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Crimson Rosella is relatively easy to see as it forages on the ground or among the leaves of eucalypts, with its spectacular combination of deep-crimson, royal-blue and black plumage. However, not all Crimson Rosellas look the same. Along the Murray River, Crimson Rosellas aren’t crimson at all — they are yellow, black and blue, with the yellow feathering replacing the crimson plumage. In southern South Australia they differ again, being roughly intermediate between crimson and yellow, with varying amounts of red and yellow in their plumage. Research featured in the 'State of Australia's Birds 2015' headline and regional reports suggest that the Crimson Rosella may be declining in the East Coast. There are several populations of the Crimson Rosella. Red (crimson) birds occur in northern Queensland, in southern Queensland to south-eastern South Australia and on Kangaroo Island. Orange birds are restricted to the Flinders Ranges region of South Australia, while yellow ones are found along the Murray, Murrumbidgee and neighbouring rivers (where yellow birds meet red birds they hybridise, producing orange offspring). Red birds have been introduced to Norfolk Island and New Zealand.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.There are several colour forms of the Crimson Rosella. The form it is named for has mostly crimson (red) plumage and bright blue cheeks. The feathers of the back and wing coverts are black broadly edged with red. The flight feathers of the wings have broad blue edges and the tail is blue above and pale blue below and on the outer feathers. This particular specimen has lost some feathers in its plumage and its colour is not as bright as that of a live specimen.Label: 77a / Pennant's Parakeet / See catalogue, page 22taxidermy, crimson rosella, bird, australian bird, rosella, crimson

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Left to Right: Fireman Bert Cadman, Driver Wally Riley, Guard Hugh Fraser. Locomotive S300 - the ‘Matthew Flinders’ The S class diesel locomotives were built by Clyde Engineering in 1957 for the Victorian Railways. Designed as premier express passenger diesels, they assumed the ‘S class’ title from a fleet of steam locomotives. They were also given names of famous Australians. The S300 took the name ‘Matthew Flinders’. In 1962, S300 was converted from the Victorian broad gauge of 5’3” to the New South Wales gauge of 4’8.5”, in order to operate the new Southern Aurora between Sydney & Melbourne. As the locomotive grew older it was removed from these duties and was sold to Chicago Freight Car Leasing Australia (CFCLA) in 2004. It is now owned by a private owner and is on loan to the Canberra Railway Museum.railways wodonga, fred rochow, wodonga railwaymen, s class locomotive

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Shelley Railway Station. This image shows the tank where the hand brakes were lifted. They were applied again at the "up" side of Koetong for about another 10 miles then lifted near Bullioh.railways wodonga, fred rochow, shelley station, high country rail trail

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

Gabriel Louis Marie Huon de Kerilleau was born to a French aristocratic family in 1769. He escaped to England during the French Revolution and enlisted in the New South Wales Corps. He married in Parramatta to Louisa Emmanuel Le Sage. They had five children who took the name of Huon – Elizabeth, Paul, Jean Francois, Aime Augustus and Charles. Paul and Charles were to become the “founders’ of the Wodonga District. In 1824 Hamilton Hume and William Hovell discovered the Hume River, later renamed to the Murray River and the rich land surrounding it. By 1835, squatters began arriving at the Hume River. During the following year, Paul Huon arrived at the Hume (Murray) River, then "taking up" 40,000 acres on the south side of the river bank. To this property he gave the name WOODONGA RUN. Charles Huon, younger brother of Paul, was sent to manage the "Run" until Paul's son, William, became old enough to take over management. Charles Huon built a mud brick home on the eastern side of a rise south of the now Wodonga Creek. Thus was Charles the first permanent settler in the district. He was a great admirer of the English Lord Belvoir hence "Belvoir" was the name Charles Huon gave to the first permanent home on Woodonga Run. By the 1857, residents numbered fifty, and the Government had surveyed a township area, proclaiming it "Belvoir" in the new State of Victoria. However, the residents wanted their own choice of a name for the town. Huon’s first home overlooked a lagoon which was often referred to as Huon’s Lagoon. It has borne several names since then including Lake Huon and Belvoir Lagoon. After much redevelopment and many roles including the location of sporting fields and the Wodonga Golf Course, it is now known as Belvoir Park, a major parkland and recreation area in Wodonga.Donated by Des Martin & Rosemary BoyesPart of a set of original sketches by Des Martin for "A Record of the 150th Anniversary" Celebrations of the Rural City of Wodonga held on 30th October 1986.huon family, belvoir park wodonga, huon's lagoon

Volleyball has been played in regional Victoria since the early-1960’s. During those early days, most competitions, like the founders of our great sport, were run by, or in conjunction with, the YMCA. Competitions were running at the Ballarat School of Mines and the YMCA’s of Bendigo, Geelong and Warrnambool. In August 1966, an invitation was extended by the Victorian Amateur Volleyball Association to play in the first State-wide event at Monash University. Geelong and Bendigo accepted the invitation with Melbourne represented by Sisu. For Bendigo players at least, this was the first exposure to ‘international rules’, which prevented upward scoops with open hands, introduced an action called a ‘dig’ and seemed to penalise most overhead actions using the fingers as ‘double hits’! Over the next few years, the sport expanded through the YMCA movement with weekly competitions starting up in Ararat, Warrnambool and Latrobe Valley. The Victorian Regional Council of YMCA’s proposed the first Victorian YMCA Championship in Warrnambool on 30th March 1968 with an entry fee of $4.00 per team. The sport continued to grow with additional regional associations affiliating with the Victorian Amateur Volleyball Association (now VVI) who provided the coaching and refereeing assistance needed to raise the standard of play. In 1970, the YMCA Championships started to give way to the Victorian Country Championships with the first ever event held in Bendigo. In 1973, a re-organisation of the VAVA saw the proposal to create separate Victorian Country and Metropolitan Volleyball Councils. The VCVC was established in 1974 and took over the organisation of the Victorian Country Championships. For the next 10-12 years, the Country Championships grew in stature with the inclusion of two divisions for open men and women and junior divisions for boys and girls. Representative teams successfully contested Australian Country Championships between Victoria, South Australia and New South Wales on several occasions. In October 1985, the VCVC voluntarily wound up the Council and handed the responsibility for the Country Championships back to Volleyball Victoria, who by that time had full-time State Executive and Coaching Directors. Since that time, the Long Weekend in June has continued to be the date of the major annual volleyball event for most regional associations, even though in 1986 the Junior Country Championships were wound up in favour of state and national schools events. A number of regional associations have ceased to exist, as have a number of regional tournaments. Regional leagues were created in both the Gippsland and Central, North-West regions, with Gippsland the only one to survive. Some associations have successfully competed in the State League competitions at various times. Following the experience gained by a number of regional administrators working on the Sydney Olympic Games, a proposal to revamp the Victorian Country Championship was put to VVI in early 2002. Later that year, the Volleyball Victoria Country Championships Commission was formed to implement the recommendations of the review and take control of the event into the future. These championships now provide regional players and officials an opportunity to participate in a consistently well-managed event, using many international protocols and a high standard of presentation. Without doubt, this event now ranks as one of the best volleyball events in Australia. Source: 2022 Country Championship regulations The management of the Country Championships by the Victorian Country Championship Commission certainly achieved the objective of raising the standard of presentation, and delivering a consistently high quality event. However, the demands on Host Associations began to take their toll, with several Associations declining the opportunity to host the event due to the high workload. Similarly, the workload of the volunteer Commissioners also took its toll, with the Commission unable to fill casual vacancies. In 2023, the Commission handed the organisation of the Championships back to VVI, who with paid staff, were better equipped to manage the event.This item contains The Victorian Country Volleyball Council Miscellaneous Items; it includes the following items: 11171.27a Australian Volleyball Federation 50th Anniversary Commemorative Pin - Presented to Malcolm Qualtrough in 2012 11171.27b Australian Volleyball Federation 50th Anniversary Celebration Booklet 2012 11171.27c Bendigo Volleyball Association 50th Anniversary Booklet created by Bronwyn James 1964 - 2014 11171.27d Bendigo Volleyball in the beginning by Murray Mansfield 11171.27e Deputy Leader of the Australian Senate, and President of Volleyball Victoria Inc., Senator Stephen Conroy presenting Life Membership Award to Malcolm Qualtrough, April 2011 11171.27f The Mayor of Bendigo Councillor Rod Fyffe at the 50th Anniversary of the Country Volleyball Championships in 2019, with Geoff Rietschel, the Executive Officer of Volleyball Victoria Inc. 11171.27g Bendigo representative country volleyball team reunion. Back Row L-R: Ann Mansfield, Diane Brown, Sharyn Wiebe, Rosie Punton, Front Row L-R Lyn Wingrave, Sharyn Weibe, Jill Crossley (nee Grieve,)with coach John Bullen 11171.27h Eric Hayman Past Chairman of Volleyball Victoria, a tribute by Life member Murray Mansfield, written in July 2002 after his death. Eric had been identified as a potential Chairman of the Victorian Amateur Volleyball Association (VAVA). He had an engineering background, and was Managing Director of Hayman Reece, a name synonomous with caravanning and towing aids. After his retirement, Eric continued to maintain a small engineering workshop at his home in Malvern, complete with lathe, welders, grinders and other equipment which shared the garage with his beloved Rolls Royce and motor cycle. 11171.27i Bendigo Volleyball association 50th Anniversary Function Video on USB Stick - Contact the BHS for details or view on YouTube - See Link Belowvictorian country volleyball council, vcvc, victorian amateur volleyball association, volleyball victoria

Colour photograph - Grade 4,1979."Attached to photograph" Back Row-L to R: Mark (?), Leslie (?), Bronwyn (?), Rachel McEwan, David Postlethwaite, ?, ?, Nicole Mathieson. 2nd Row- L to R: James Edis, Kerry (?), Mathew Jobling, Lexie Jenkinson, Kerryn Hopgood, Simon Ignatious, Jenny Murray, Julie Rigg. 3rd Row L to R: Ellen Hodgson, Tracey Williams, Tania Alhouse, Anthoula (?), Robert McDougall, Nigel Mason, Dale Franklin, Karen Evans, Craig McDonald. Front Row- L to R: Johnny Tomado, Kylie Balinger, Lori Mays, Katrina de Jerseys,

One of 15 A3 pages with copies of Postcards on each. From the Shirley Jones Collection.Copies of Postcards. All photos of the Phillip Island Suspension Bridge.Left side from top to bottom: "Photo Shop Series - Phillip Island Bridge"; "The Rose Series P4304 - View of Suspension Bridge San Remo - Phillip Island"; "Suspension Bridge - Phillip Island"; "The Suspension Bridge - San Remo". Right side from top to bottom: "Murray Views No 5 - The Bridge San Remo Vic"; "Photo Shop Series No. 4 - Phillip Island San Remo Bridge"; "The Rose Series P1967 - The Bridge from Newhaven Phillip Island Vic"; "The Rose Series P4227 - The Bridge from Jetty Newhaven Phillip Island".phillip island suspension bridge, shirley jones collection, thelma astbury

Three of a collection of photographs donated by Bernie De La Haye.Three photographs of the Phillip Island Brass Band. 350-11: Colour photograph of the Band in the street at the end of a marching display at the West and South Gippsland Regional Band Competition at Leongatha or Korumburra? 350-12: Black & White photograph of the Band taken outdoors. 350-13: Colour photograph of the Band taken during a break during a concert in the 1950's.Names of members in 350-13: Bandsmen seated Left to Right: R De La Haye, R Cleeland, J Dixon, R Dixon, G Gliddon, P Forrest, A Towns, M De La Haye, J Gliddon, A Murdoch, W McLardy, B West, L Dixon, H De La Haye, N Cleeland. Bandsmen Standing Left to Right: E Booth, E May (Bandmaster), G Dunscombe, A Murray. Non Band Members, Left to Right: B Forrest, P Forrest jrn., S Papworth, M Toovey (being cheeky).phillip island brass band, phillip island municipal brass band, bernie de la haye

Taken in 1877, this photograph features nine members of the Beechworth Volunteer Fire Brigade holding a cup that was awarded to the group for winning the double hose competition. The cup is currently on display in the Burke Museum's 'Street of Shops' display Report of the event in the Ovens and Murray Advertiser, 3/4/1877 - The Fire Brigade Competition was held in Beechworth at Easter 1877. The double-hose competition carried a prize of ten pounds with an entry fee of ten shillings. The task was for eight men to run with reel 200 yards. fix hydrant, run out not less than 100ft of hose, fix branch, and throw water over rope 10ft high. Run out a second line of hose, not less than 100ft, fix branch, and throw water as before. Beechwoeth first team competed against Wangaratta and Chiltern, coming first in a time of 70 seconds. Wangaratta were disqualified. Sepia rectangular photograph printed on photographic paper and mounted on boardReverse: Member of B.V.Brigade, 1877. The Trophy Cup showing in the Photo is the small cup on display in the adjacent display case./ BMM 3936burke museum, emergency services, fire brigade, fire, competition, cup, photograph

Shire of Eltham Engineers Department, July 1987 Top Row L-R: Phil Wrigley, Ian Craigie, Peter Brown, Rae Robinson, Lilliana Unsworth, Joan Kindellan, Bill Oakley, Lindsay Brooks, Simon Thomas, Simon Beal, Bernie Murray Middle Row L-R: Rosemary Garnett, Maurice Stabb, Alan Lansdowne, Ron Dinsdale, Tony Diagiacomo, John Stamp, Bill Salisbury, Barry Welch, Ezio Lattanzio, Greg Slater, Nick Palamaras, Stephen Richards Front Row L-R: Ray Stockley, Craig Stevens, Fred Harrington, Margaret Morgan, Colene Dal Santo, Debra Whittaker, Bill Mulcahy, Colleen Tuovinen, Michelle Gardam, Graham Rushbrook, Brian Taylor, Steve Smeelie Staff not present: Stan Ashmore, Bob Hayes, Frank Bourchier, Sue Long, Anthony Browncouncil staff, shire of eltham, alan lansdowne, anthony brown, barry welch, bernie murray, bill mulcahy, bill oakley, bill salisbury, bob hayes, brian taylor, colene dal santo, colleen tuovinen, craig stevens, debra whittaker, ezio lattanzio, frank bourchier, fred harrington, graham rushbrook, greg slater, ian craigie, joan kindellan, john stamp, lilliana unsworth, lindsay brooks, margaret morgan, maurice stabb, michelle gardam, nick palamaras, peter brown, phil wrigley, rae robinson, ray stockley, ron dinsdale, rosemary garnett, shire of eltham engineers department, simon beal, simon thomas, stan ashmore, stephen richards, steve smeelie, sue long, tony diagiacomo

These Constitutions dated 14.11.1952 with the name's , "A.V. Palmer - President" (Bendigo RSL) "N.D. Wilson - President - Vic Branch R.S.S.A.I.L.A". The small booklets were headed "Rules of the Bendigo Returned Servicemen's Club - 1956" As far back as 1950 there was discussion within the Sub Branch re a Club in suitable premises. A property was purchased being 11 McKenzie Street Bendigo with the title dated 9.2.1951, the facility opened on 1.6.1951 but without a Liqueur Licence. Years followed with a failure to be granted one. Finally the facility was sold to Bendigo Legacy and they occupied the building on 7.6.1959 which became known as "Legacy House". This is a very brief version of the events from the Book by Murray Poustie, refer Cat No 8093, The history of the Bendigo RSL. .3) The Rules of the Welfare Committee were in .1) folded in half. There is 6 paragraphs with a total of 18 Clause's..1) Folder cardboard covers light brown colour with taped binding, cover has typed black heading underlined in red, hand written notes in black pen added, 15 typed pages in black stapled inside with a hand written note in black written on one page. Inside the front cover stapled in is a small grey booklet with 24 pages in black text. .2) Same as .1) but without any hand written notes. .3) Two pages stapled together typed in black re "Welfare Rules".1) .2) Typed text on covers underlined, " Constitution - Bendigo - Returned Sailors Soldiers and Airmen's Imperial League of Australia". Hand written on .1) "Do not take this out of Office - See change of Constitution paragraph 25 Clause 1". .3) Heading, Rules for the Conduct of Welfare Committee"brsl, legal, smirsl

Wilfred Clarence Busse was born in Chiltern, Victoria in 1898. His family first arrived in this region during the gold rush era, purchasing a piece of land adjacent to the Murray River. The spectacular scenery and rich history of the area is said to have inspired Busse in his writing. He attended Wesley College in his school days, before going on to study law at the University of Melbourne. After graduating from university, Busse would go on to become a barrister, but he is best known as a writer of fiction, publishing two novels: 'The Blue Beyond: A Romance of the Early Days in South Eastern Australia' and 'The Golden Plague: A Romance in the Early Fifties'. Busse died in 1960. This particular object was owned by Busse. It is a tie pin and, as inscribed on its box, it was manufactured by Stewart Dawson and Co, a successful jewellery company - founded in Sydney in the late nineteenth century - that is still active today. This object is significant as it was owned by Wilfred Clarence Busse, an accomplished barrister and writer from Chiltern, Victoria. It was also manufactured by Stewart Dawson and Co, a successful jewellery company, founded in the nineteenth century, that is still active today. A thin, curved, gold-coloured tie pin placed inside an open velvet-lined jewellery box. Inscribed beneath the lid are the words 'Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London.Box open: Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London w.c. busse, wilfred clarence busse, gold rush, gold rush chiltern, busse barrister, busse author, "the golden plague: a romance of the early fifties., "the golden plague”, "the blue beyond: a romance of the early days in south eastern australia", "the blue beyond", tie pin, jewellery, jewellery manufacturers, sydney jewellers nineteenth century, stewart dawson and co

Photos taken on the last day of the SECV operated tram services in Ballarat 19/9/1971 1 - Tram 39 running out as Special at corner of Sturt and Drummond St North. Has the Mobil Service station and J A Malpass shop in the background. 2 - Tram 40 waiting at the railway gates. Has the Kennedy Murray Pty Ltd General Carrier office in the background and the railway goods shed. Photo taken from the signal box. 3 - Tram 42 in Lydiard St North with Reids Coffee Palace and the Provincial Hotel in the background. The street is very quiet. 4 - Tram 39 at the Lydiard St North terminus. 5 - Tram 40 at the Lydiard St North terminus. Note the shelter and the tram stop pole. 6 - Tram 40 using the Dawson St Crossover with St Patricks Cathedral behind.Yields information about the last day of SEC public operations in Ballarat.Set of 6 Kodachrome colour slides - cardboard mounts. Sixth one in a green card mount.Have the photographer's slide numbers written on them.trams, tramways, closure, tram 35, tram 34, tram 42, tram 40, lydiard st north, level crossing, dawson st