This white, cotton, baby's pinafore with hand crochet work is and example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire.The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A white cotton infant's pinafore, with hand crochet work around armholes, and lower edge of garment. Feather stitch embroidery, and pin-tucking on bodice. Waist ties.clothing, crochet work, moorabbin, bentleigh, early settlers, pioneers, market gardeners, dendy special survey, brighton pioneers

Postcard, Lower Reserve, Bendigo, showing Five people near the edge of the lake. Card has a gold coloured braide around the outside. Printed in Great Britain.The Valentine & Sons Publishing Co., Ltd., Melbourne.postcard, photograph, lower reserve bendigo

Postcard. Diamond Jubilee, Bush's Souvenir, Bendigo C. 1897. Photo has Queen Victoria on the top half. Bush's Store and Staff on lower left half.

Postcard. Hoskins Timber Yard, Hargreaves Street, Bendigo C. 1895. Eight men standing in front of the store, Horse head and chest lower left corner.

Colour Photo of view from Post Office tower showing former City Hall, Public Office to the left, multistory car park in lower right corner.bendigo, buildings, historic and archaeological, state public office and former city hall

Kerosene was used to light the signal lamps at night time on a railway, to ensure that a locomotive driver could see that the line was clear there was no danger of another train ahead. This container was used to store the in kerosene to fuel such lamps and was kept inside a lamp room until required for use.Victorian Railways - Keroseane Container Used in the storage of kerosene prior to use in lamps at stations.Large, cylindrical tin container with conical lid and wire handle. A small zinc spout is embedded in the lower quadrant. The word 'KERO' is stencilled in white across the front. Keropuffing billy, kerosene, fuel, combustible material, tin container, lamps

History of the Grange Golf Club. In the 1890's Golf introduced and became popular in Stawell yellow card cover with brown print, B/W photo covering lower third of cover continues to the back cover. Photo of a group of people in front of buildingHistory of the grange Gold Club 5oth Anniversary 1986 Inside. With Complements Jack Jones 10.10.80stawell sport

From the Chapman family photograph albumPhotograph on card backing Sitting infant/toddler dark frock with rickrack around lower sleeves, lace apron overdress, ankle socks and dark buckle shoes. Ruth Henderson 1895portrait

No. 1 from Valentine Series of small postcardsBlack and white postcard showing lower reach of North Arm, and gully. Vegetation has been removed from both sides of gully. Lakes Entrance VictoriaNorth Arm Lakes Entranceislands, township, topography, waterways

Brown yearbook with a navy stripe along the lower section of the cover and a WHS logo overlayed above below 1953. KORRUMBEIA is written vertically along the left side

A sign that originally hung near the Comradeship room where Legatees met regularly.Comradeship meetings were very important to the Legatees. Legatees supported each other by coming together for various events throughout the year. Yellow hand painted board with rounded edges and black text. Four holes through board. Top section is painted in gloss, lower section in low sheen.comradeship, legatee event

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The button forms part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration. The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Round metal button in red, white, blue and gold showing a sun setting over the sea with words printed in red around border and on lower outer rim.hospital day, patriotic buttons, first world war (1914-18)

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

Wall mounted drill press, flat belt pulley driven. Flat belt pulley and flywheel on LHS, hand operated drill lowering mechanism on RHS. Unpainted.Cast in relief on main frame "No 1082" on LHS, "Buffalo Forge Co. / Buffalo N.Y." on RHS.trades, metal working

The "Jack Be Nimble" competition was run as part of Maryborough's annual Wattle Festival.The competition for which the trophy was presented is based on the traditional game of knucklebones or "Jack - Be - Nimble". The now defunct Wattle Festival was a significant feature of the town's cultural life for many years. Varnished wood two- layer base with central pillar, topped with gold coloured knucklebone. Metal plaque on upper layer of base and metal shields on lower level.Jack Be Nimble competition (main plaque) Individual competition winners noted on shields (Betty Briggs (1984), Isa Stewart (1985), Frank O'Connor (1986, 1987, 1988, 1989), Susan Crouch (1990), Vicki-Lee Rush (1992/3).trophy festival

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 68 Park Street, Hawthorn 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Mair family were long term residents in the area with strong social and business connections to the Surrey Hills community.A sepia photo of a man, a women, 2 children and a baby seated in front of a paling fence. The man is balding with a moustache. Children's faces are lowered as if avoiding looking at the sun.On rear: "Dad Beryl Geoff / Mum Isabel" in blue biro. Thought to be Beryl Mair's handwriting.david miller mair, dave mair, lily vipond deakin, lily vipond mair, geoffrey mair, beryl mair, isabel mair gwynneth mair, toddlers, family portraits, 1920s

Rectangular wood plaque with two bronze plates; the top plate depicting a landscape and the inscription 'Eltham Art Awards 1987' and the lower plate the inscription 'Matcham Skipper'.Inscribed 'Eltham Art Awards 1987' with an oval containing the number 0256 and 'Matcham Skipper'matcham skipper, plaque, eltham art awards

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's 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 technician, 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 the 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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green vest with two pocket decorations on the lower front of the vest. Underneath the pocket is the Australian emblem, below which are the Olympic rings and the inscription "BARCELONA 1992."BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

The flag of the Republic of Vietnam served as the South Vietnamese national flag during that country's existence between 1948 and 1975. The flag, being of a defunct state, is no longer officially used in Vietnam today, but is still shown and used overseas by many Vietnamese emigrés.The flag under which the soldiers of South Vietnam fought and by association, alongside which the Allied nations also fought during the Vietnam War.Framed textile, with glass and dark brown timber and gold frame. Large yellow flag with three red horizontal stripes. Small brass plaque in lower quadrant.Flag of Republic of Vietnam.flag, vietnam, republic of vietnam national flag, 1949 to 1975, vietnam war, diamond valley vietnam veterans sub branch

This music certificate was a key achievement in the education of young Lillie Duncan. James Muir was the secretary of the the Associated Board of the Royal Academy of Music and Royal College of Music This is a photograph of social and historic significance, being part of a sub-collection of material that provides a snapshot of the type of individuals involved in the Ladies Harbour Lights Guild and the activities carried out by that organisation.Framed lower pass music certificate belonging to Lillie Duncan behind glass. Decorate black ink certificate on blue/green paper in a ridged cream frame.see image: for handwritten award inscription Signed by James Muirlillie duncan, music, certificate, education, james muir, piano, royal academy of music

Hardcover book, 314 pages. Book has a green cover with black printed text and a family creat. Lower corner of book has a yellow label attached.fictionlucas cleeve, fiction

This type of clock was used on the Port Melbourne bus route until its replacement by the Automatic Vehicle Monitoring system (AVM) to record the departure time of bus services from a specific point along the route. Possibly used at the terminus itself. Clock obtained by the Museum from the MMTB at the time of its replacement c1980. Conductors rather than drivers "Punched" the clock when this bus route was operated by half-cab buses. Was originally in a steel case when received. The Museum made the perspex insert in the front door to enable operation by a key c1985 when it was installed in the Museum's Mess Room. See item 9566 for a key that was used.Demonstrates a MMTB Cincinnati manufactured time recording clock. The MMTB also made their own.Cincinnati "bundy" clock comprising a pendulum operated clock upper section and a lower recording and printing section with a paper roll within a red painted wooden case. Has No. 81 in pencil on the clock face.tramways, buses, cincinnati, time recorder clocks

UnknownView of a building on a country street. The building is large, and in 3 sections, two of which may be shops. The building on the corner has a verandah and balcony over the footpath, and may be a pub. Two people lean on the wall to the right of the building. One man in overalls and carrying a bag walks along the centre of the dirt road. Framed in gold painted wooden frame.Front: B Malloch '77 (lower left) (brown paint) Back: 1977 - (yellow sticker, upper right) Mer-ger Galleries, Picture Framing sticker, order no. 1057 (sticker, lower centre) "Dow...E Street" (blue pen on sticker, lower left, torn)

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency, 1983 and 1984.A laminated screenprint of a portrait montage in black on coloured background. The foreground consists of over one hundred small portraits which cover the majority of the work. On the left and top right sides are black outlines of various flora. At the top of the work is black text which reads "1834 Portland 1984".Front: Angela Gee '83 (lower right) (pencil) Back: 20portland, angela gee residency

Kate Oliver is the granddaughter of Padre Oliver, and daughter of Rodney Oliver and chose to launch a self published album of children's songs at the Mission on 26 May 2019. She has also provided us with additional information and images of Moira Oliver, her grandmother, a keen photographer.Rev Frank Oliver served at the Mission as senior Chaplain from 1930-1960. Rev Rodney Oliver, his son, served on the MTS board in the late 20th C./21st C. Kate Oliver is his daughter.Advertising poster for the event of launching a children's album which took place 26 May 2019.Hand written inscriptions top and lower edge in blue Texta pen:kate oliver, passing clouds, children, wellbeing, frank oliver, rodney oliver, events, concerts, hiring events, padre oliver, reverend frank leslie oliver, moira bird oliver, john rodney oliver, cultural events, padre frank leslie oliver, mindfullness, 2019

The Wikipedia page indicates that the SS Binurra was sold to Malaya three years after the date of this menuCream coloured paper menu for tea /typed on company template. SS63 is printed top LH corner above the blue arc "The Australian National Line". The angled company flag,in red and blue, is centred below. The blue menu design is printed with the typed name of the ship "Binburra" below. The menu of the day 31 October 1966 is also typed.A small pencil edit appears on the lower RH side of the typed menuss binurra, anl shipping company, menu, australian national line, anl

Hung in CEO's Office 5/9/2003Scene depicting a beach. On the right are sand dunes with grass covering them. On the left is the ocean. The beach runs from foreground left to the upper centre of image, diminishing in size. In centre left of image three standing adult figures and one child stand to the left of a seated figure wearing a red hat. A fishing pole is braced in the sand beside the figure's chair.Front: J Kent (blue paint, lower right) Back: (unknown)