Sepia portrait of Horatio St Vincent Busst, born Bendigo 1866, died Kew 8/6/1940, educated at St Killians and Bendigo High School, in 1883 was appointed Mining Warden of Sandhurst and in 1889 was appointed Mining Registrar for the district of Sandhurst. Father Thomas Walter Busst native of Staffordshire England arrived in Bendigo 1856. Brother T.W.Busst Junior was an Australian Amateur Cycling Champion. Framed in a very ornate timber frame with raised carved decorative border.photograph, person, busst, bendigo & vicinty page 248 bendigo advertiser newspapers cuttings local identities page 34

A TOUR OF OUR TOWN EAGLEHAWK. 148 pages with photos, illustrations.Eaglehawk Heritage Societyeaglehawk, local history, eaglehawk, heritage, local identities

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

Stencil used by Sgt. Albert David Lowerson, VC, a soldier settler on Merriang Estate near Myrtleford. Lowerson acquired one of 19 blocks assigned by the Closer Settlement Board on the 700 acre estate in 1920. The stencil marked bales of cured tobacco leaves prior to shipment to Melbourne. Lowerson was one of the few successful soldier settler farmers in the district, operating a piggery, dairy farming and growing tobacco for almost 20 years on "St. Quentin". (Lowerson was awarded the Victoria Cross at Mont St. Quentin on September 1, 1918.) His success and status enabled him to lead a submission on farm debt and infrastructure problems when the soldier settlement scheme was being reviewed at government level. He was active locally on these issues and supported fund raising for a war memorial, memorial hall and veteran welfare.The stencil represents the achievements of A.D.Lowerson, VC as an isolated example of success as a WW1 soldier settler and as a local identity who stridently supported the need for recognition and support of ex-service personnel.Stencil made of thin sheet metal, rusted .Wording of stencil "A.D.LOWERSON. MYRTLEFORD." lowerson a.d., merriang estate, myrtleford, closer settlement board, tobacco, st. quentin, victoria cross, world war 1

These School Papers, numbers 431 to 440, were distributed to pupils on a monthly basis beginning in 1896, as extra reading material in addition to the Victorian Reader. The owner, Millie Crameri (nee Rae) was a pupil at Gapsted State School Number 2241. During the 1960s the form of The School Papers changed into 3 grades of readers:Meteor, Comet and Orbit.A complete example of a 20th century textbook used in a rural school with insights into course content and learning modes of that time.Of local significance because Millie Crameri was a well known local identity. There is a sticker inside the front cover with Millie's name and details inscribed, presumably in her own handwriting. A brown hard cover folder containing monthly reading material for both Grades 7 and 8 during 1937. Each leaflet is preserved in the folder by inserting through cotton/linen threads.FORDITE embossed on the front cover.primary schools, rural schools, learning materials

THE PHOTOGRAPH WAS FOUND IN BERT ANDERSON HOME IN McDONALD STREETA PHOTOGRAPH, MOUNTED ON MATT BOARD WITH A BLACK FRAME, OF A LADY, IDENTITY UNKNOWNlocal history, photography, photograph,

IDENTITY UNKNOWNORIGINAL PHOTOGRAPH , DARK HAIRED LADY STANDING BY HER PUSH BIKE. LADY WEARING LONG WHITE FROCK AND HAT.local history, photography, photographs, costumes, female

IDENTITY UNKNOWN - DARK HAIRED LADY DRESSED IN FULL LENGTH WHITE/CREAM EVENING FROCK. WITH FEATHER BOA.ORIGINAL PHOTOGRAPH POSTCARD OF LADY FORMALLY DRESSED IN FULL LENGTH GOWN AND FEATHER BOA.DEC 1908 VICTA STUDIO CLUNES.local history, photography, photographs, costumes. female

IDENTITY UNKNOWNORIGINAL PHOTOGRAPH OF BABY. SITTING ON CUSHION, WEARING WHITE DRESS, BIB AND BOOTIES.local history, photography, photographs, costumes - child

IDENTITY UNKNOWNORIGINAL SEPIA PHOTOGRAPH OF YOUNG CHILD - LEFT HAND RESTING ON TABLE. WEARING LACE TRIMMED BONNET AND LONG WHITE DRESS.local history, photography, photographs, costumes - child

With an interest in 'Collective Unconscious' Nagel aims to explore the human condition, and our impact on the natural world / This figure embodies human and animal traits with semi-autobiographical references to investigate concepts relating to identity and home / Nagel focuses on the extinct, the pest, the endangered and the introduced as a way to reveal her concerns of humanity as creator and destroyer / In this sculpture a koala headed figure is in the pose of the martyr St. Sebastion / With no arms, there is an inability to protest or fight. This work is by a local contemporary artist and encompasses contemporary themes / This work was a finalist in the Nillumbik Prize 2012.Ceramic - sculpture human and animal like (koala) armless figure depicted standing in a similiar stance to that of a classical sculpture / Blue and white body with a yellow face / Made from porcelain with oxide, clear glaze and undergaze.nagel, sculpture, porcelain, animal, ceramic, classical

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the first of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Five picture and six woven balustrades each made out of welded steel / organic wrought iron and coated with wax. Imagery (flora - plants, landscapes and fauna - animals, birds, reptiles, insects) are all based on the local environment. There is also a relevant aboriginal presence amongst each of the panels. Each panel represents the different areas that make up the Shire. 'Water' for Warrandyte, 'Kangaroos' for Christmas Hills, 'Cockatoos and 'Valley Creek Flats' for Hurstbridge, 'Wombats', 'Bluetongues' and 'Possums' for St. Andrews/Kinglake, 'Orchids' for Panton Hill, 'Cows' and 'Grapevines' for the Kangaroo Gound Hill landmark. N/Apublic art, nillumbik, fauna, flora, wrought iron, balustrade, halpern, laurence, kangaroo, eltham town square, spirit, warrandyte, christmas hills, kangaroo ground, hurstbridge, kinglake, panton hill, water, valley creek flats, cockatoos

Story of an early settler (circa 1920) at Peterborough. Includes the story of the author's Great Grandfather John Brumby.Dairy farmer plus references to his family's migration to Australia. References to other local identities.Plastic bound 179 page self published book with Table of Contents and Index of Names.ian jarvis, peterborough 3270, peterborough settlers, john brumby peterborough

Carmel Densley was a member of the Antares Group. She has documented their activities between 1992 and 19999Photos are of local identities.3 photo albums containing pictures of the Antares Group outings and activitiespeterborough

pp. 84, soft cover, historical photographs of Belgrave, Tecoma, Upwey and Upper Ferntree Gully. Locations, buildings, identities, with notes. Loose A4 sheet "Errata & Adenda"

With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions It was decided in 1950 that a new set of Colours would be presented to 16th Battalion. For reasons that still remain unclear, these were manufactured under local arrangement by "cannibalising" the original 1933 set of colours and transferring the devices and battle honours (in the case of the Regimental Colour) to the new Colours. (Reported by Western Command to the Adjutant General -reference file A 107/1/11 dated 30 April 1952). These new colours were presented by Major-General JS Whitelaw, CB, CBE at a parade of the 16th/28th Infantry Battalion held on the Esplanade, Perth, 26 August 1951. (For details of Colours previously presented to 16th Battalion see separate section below). 16th/28th Infantry Battalion became unlinked in March 1952 with both 16th and 28th becoming independent battalions within their own right. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project Previous Colours presented to 16th Battalion The designation "16th" was allocated to several different infantry battalions that had been raised at different stages during changes to organisational structure of the Citizen Forces during the 1920's and 1930's. The original King's Colour awarded for service of 16th Battalion (AIF) and received in 1920 by the Citizen Force unit 2nd Battalion, 16th Infantry Regiment was later passed on to 16th Battalion (The Goldfields Regiment) which had been raised in the Kalgoorlie area in 1921. This unit became inactive and this Colour was later laid up in the Kalgoorlie Council Chambers. In order to maintain the identity of 16th Battalion as a Citizen Force unit, in 1930 11th Battalion (The Perth Regiment) was reformed as a linked battalion under the designation 11th/16th Battalion. As the 11th Battalion had already received its set of colours in the 1920's, it was decided that a set of King's and Regimental Colours be presented for 16th Battalion. These were presented by HE the Lieutenant-Governor Sir James Mitchell, KCMG at a parade of 11th/16th Battalion held at Perth Oval on 15 October 1933. The colours were consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD. In 1936 16th Battalion was re-established as a separate battalion within its own right, being formed as 16th Battalion (The Cameron Highlanders of Western Australia). The colours presented in 1933 were passed on to this new battalion and were also initially carried by the post-World War Two unit 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) as already mentioned. Union flag with gold fringe. In the centre the Arabic numeral "16" on a red background within a circle inscribed "SIXTEENTH BATTALION", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- NORTH AFICA 1941, SYRIAN FRONTIER, THE LITANI, SIDON, WADI ZEINI, DAMOUR, KOKODA TRAIL, BUNA-GONA, LIBERATION OF AUSTRALIAN NEW GUINEA, BORNEO

Fold out pamphlet with 6 panel, printed in colour on gloss paper, containing calendar for reunions Dec. 1997 to Dec. 1998, details for reunions and special events. Included as a features and photographs of yesteryear. 1. Frontispiece - 'Linton Express' stage coach 2. Back panel, photo of tram in S.E.Dickins store and horse cab in front of Town Hall 3. Small photo of ESCo tram at Lydiard St. and Sturt St. Corner 4. ? - Picor and Widmer moving stock across Bridge St. blocking tram to Victoria St. ca 1960. One Panel is Ballaarat song - taken from Ballaarat's Historic Committee - home to Ballarat Souvenir Program 1927, authors Reginald Stoneham & Will A. Bevan. These words along with associated tune is often sung to this day at gatherings of locals etc. Sponsors of pamphlet were 3BA, WIN TV, and The Courier. List of patrons on one panel. Also contains a sheet of paper with updates as of 23/4/1998 of reunions. Second copy added 31/10/12 - and imaged. See Reg Item 5468 for a postcard.trams, tramways, ballarat song, reunions, ballarat trams

Identity card issued to Emily Foley in 1942. This type of card was issued to British subjects who were civilians. During World War II everyone in Australia was issued with a personal identity card and was required to report changes of address to the government. These cards were particularly important in the identification and monitoring of Aliens (non-citizen residents) , particularly non-Europeans and Asian residents. (Source: Museum Victoria)Local example of an identity card issued to a Kew resident.Identity card issued to Emily Elizabeth Foley of 89 Harp Road, East Kew. The card uses the for "C.R.3 - Civilian Registration British Subjects". it bears a Camberwell stamp on the front right corner. The Identity Card includes the following inscriptions: Front "V14 / F85 / 29268" Reverse Witness signature: "Ethel Foley" same address identity cards, world war 2 - ii, second world war 1939-1945, australia

xv, 328 p. : ill. ; 23 cm.Autobiography of local (Kew) political identitysantamaria ba, national civic council, political biographies

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 badges form 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.The use of common symbols for a range of purposes is sometimes a feature of wartime and post-war fundraising buttons. Like the ‘Hospital Day 1919’ badge, the ‘Come Back to God’ badge is within a seven pointed star on a dark blue ground with sprays of wattle; attempting to harness nationalism with religion.Come back to Godbutton

Most of the ephemera assembled by Francis Rigg were patriotic buttons but also included come sporting event buttons including two associated with the East Kew Citizens Sports Carnival. The subdivision of the area now known as Kew East commenced before World War 1, but it was not until the 1920s that it became fully developed. At this time, there was a strong Progress Association and this body raised funds to purchase land and build the East Kew Citizen’s Hall in Normandy Road, the first stage of which was completed in 1922. This hall was designed to be extended, although this never occurred, and the building now forms part of the facilities of the East Kew Uniting Church. The ‘East Kew Citizens Sports Carnival’ may well have been a fundraiser event for the building fund. As far as is known, the carnival was only held for a couple of years.Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) 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.A circular badge produced for the East Kew Citizens Sports Carnival in 1924. The badge has a ground of vertical stripes in shades of blue. The name of the event is within a white circular band. A white shield in the centre includes the words “Admit” which would indicate that the badge was purchased and worn on the day of the carnival to indicate that the wearer had paid the admission fee."East Kew Citizens Sports Carnival / Admit 13 Dec. 1924"kew east, sport buttons

Most of the ephemera assembled by Francis Rigg were patriotic buttons but also included come sporting event buttons including two associated with the East Kew Citizens Sports Carnival. The subdivision of the area now known as Kew East commenced before World War 1, but it was not until the 1920s that it became fully developed. At this time, there was a strong Progress Association and this body raised funds to purchase land and build the East Kew Citizen’s Hall in Normandy Road, the first stage of which was completed in 1922. This hall was designed to be extended, although this never occurred, and the building now forms part of the facilities of the East Kew Uniting Church. The ‘East Kew Citizens Sports Carnival’ may well have been a fundraiser event for the building fund. As far as is known, the carnival was only held for a couple of years.Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) 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.A circular button produced for the East Kew Citizens Sports Carnival in 1922. The button has a ground of vertical stripes in shades of blue. The name of the event is within a white circular band. A white shield in the centre that includes the words “Admit” would indicate that the badge was purchased and worn on the day of the carnival to indicate that the wearer had paid the admission fee. "East Kew Citizens Sports Carnival, Admit 2nd December 1922"east kew, east kew citizens sports carnival, sports, badge, numismatics, francis rigg

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)