AboriginalOlder Gentleman beside tree holing shield and boomerang

This document was part of a media campaign to have Mr. Gray, the boss, of the nursery at Wail reinstated to that position after being forced to retire. the media campaign was successful.A five pages typewritten document titled: The Wimmera Forest nursery and what it has to offer to Northwestern tree growers by L. John Ellison. The document was sent to the editor of the Educational Magazine in Melbourne. Part of the Aileen and John Ellison collection.On front page in pencil: Mr. Graywimmera, wail nursery

Visible Nelsons Criterion Hotel, Wimmera Crushing Mill, Odd Fellows Arms hotel, F.H. Oliver & Co Grain Merchant, Reefs Restaurant.Holtermann Black and White photograph of Stawell from Big Hill with mining in foreground. April 1874. Wimmera Crushing Mill and settling pond at centre of photograph. Stawell water supply centre left of photo. Black Range in Background.mining, panorama

Farming in the Wimmera. Two sheds to the right, the one on the far right appears to have a water wheel. Behind and to the left of the second building appears to be farming equipment. Possibly a farm or museum of farming history. Used as a teaching aid.Agfacoloragriculture, farm, machinery, mouat crawford collection, wimmera

This chemise is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This chemise is machine sewn by Eliza Towns and she has added pintucks and broderie anglaise lace as a decorative element. A chemise was usually a sleeveless garment made of linen or cotton (so they could be easily washed) and its shape was much like a modern day nightgown. The name comes from the French word for "shirt" or "shift". Women wore chemises next to the skin (under the corset) to keep stains and odors away from the less washable corset and gown.This item is an example of the needlework skills of women in the mid to late 19th century - combining machine stitching with hand embroidery to personlise and embellish an item of clothing. It is also significant as an example of a practical solution to the difficulties of needing to regularly hand wash a bulky outer garment or gown in the Victorian era.A white cotton, short sleeved, knee length chemise. The fabric at the front is gathered on a yoke which is decorated with bands of five pintucks alternating with broderie anglaise lace and embroidered strips lined with pink ribbon. A different broderie anglaise design decorates the sleeve edges, neckline and center broderie anglaise strip. The back of the chemise is gathered on to the neckline. There are two bands of pintucks on each sleeve. The fabric around each armhole has been strengthened with another layer of cotton and a length of cotton has been added (from the left shoulder to the hem) to increase the width of chemise.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, south west victoria, victorian era, victorian era undergarments, chemise, victorian era chemise, undergarments, pintucks, victorian chemise, eliza towns, nhill, wimmera, home sewing, machine sewn, hand made

This nightgown is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing

This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

This corset cover is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

Sheep Hills is located Sheep Hills in the northern Wimmera region, north-west Victoria between Warracknabeal and Minyip. The hotel was built in 1884 and was originally known as Jenkins Hotel. In 1903 it was called the Railway Hotel. The name Commercial Hotel was used from 1915, and Mr Cain bought the hotel in 1950. in 2017 it was a private residence.A brick hotel at Sheep Hills, Victoriasheep hills, commercial hotel, wimmera

This apron is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes - adding her own handmade embroidered or crocheted decorative trim. In March 1915 Eliza travelled to San Francisco to visit her son, James. She went by train to Melbourne ("a pleasant journey on the up express') and the next day caught the express train to Sydney. She noted in her letters home that a " number of young men were going to Sydney to enlist but they had to stop in the corridors most of the way as there was no room for them to sit down". She spent the night on the train and arrived in Sydney the next morning and on the following day she boarded the R.M.S. "Moana" (a steamer which took about twenty-four days to reach San Francisco). She returned from Vancouver about five months later on board the "Manuka". It is very likely Eliza took this "Travelling Apron" with her on her travels. Eliza was travelling by herself and had no one to help her with her dress or her hair. "Travelling Aprons" (also known as Toilet Aprons or Tourist Aprons) were designed with different sized pockets for holding a lady's toiletries - hairbrush, hair pins, comb and sometimes even soap and a powder puff. This allowed the owner, when travelling and getting dressed in small places such as an overnight train compartment or a ship's cabin, to have all her requirements at hand without needing to search for them or have them roll onto the floor. Some of the pockets are finished with buttoned flaps to keep the items in place and when not in use, the apron could be hung up or rolled up and put away. Articles about the "Traveller's Apron" appeared in numerous Women's columns in Australian newspapers in the early 20th century - often with instructions and sometimes a pattern. In the "Age" on Sat 5th October 1907 in a column titled "Feminine Facts and Fancies" the author wrote "No man can appreciate the difficulties of dressing in a "wobbly" train or trying to do one's hair while a ship is weathering a storm". A year earlier (Saturday 24th March 1906) in the same column, the author wrote "... you have to spend nights in a train... forever struggling to dress yourself in a wretched little lavatory. You know how your hairpins and combs jump all over the place ... a train is always at its liveliest when you're trying to do your hair. My travelling apron saved me many a rage."This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also an excellent (and rare) example of an early 20th century innovation that helped solve the difficulties of privacy and convenience that many women experienced at a time when travel was becoming more accessible to them. A half apron, made of ivory linen with two waist ties and seven pockets. Along the top are two smaller pockets with triangular, buttoned flaps labelled "Hairpins" and "Nailbrush" and one larger unlabelled pocket. Underneath are two larger pockets labelled "Brush & Comb" and "Work" and two unlabelled narrow pockets. The seams are machine stitched and the pockets are outlined with hand embroidered feather stitch. The labels on the pockets are embroidered in stem stitch."Hairpins" / "Nailbrush" / "Brush and Comb" / "Work"flagstaff hill maritime museum and village, nhill, eliza towns, apron, travelling apron, tourist apron, textiles, toilet apron, sewing, embroidery, travel, warrnambool, great ocean road, trains, ships, moana, manuka, feather stitch, stem stitch, fashion, handmade, clothing, charles towns, needlework

Original Cat No: 238Front Page Coloured like a picture frame. Newspaper Supplement 40 PagesThe Wimmera Mail Times

The wool was shorn from sheep of the Wyndarra and Rockbank bloodlines. A flock of 290 sheep were kept undercover at Kadinia, the property of the Appledore family from Brim in the Wimmera district of Victoria. Their record-breaking wool was produced by giving the sheep a special diet and providing each one with a UV-protective coat. Around 180 fleeces were selected for the million dollar bale. The sale of the first bale of wool measuring below 14 microns was held in the Auction Room here at the National Wool Museum. Bidding began at $600/kg and steadily increased until there were only two bidders left. The bidders represented the Japanese firm Aoki International and Loro Piana of Italy. The hammer fell at $10,300/kg, with Aoki International paying $1,194,800 for the 116kg bale. The fleece was scoured (cleaned) at the Goulburn Wool Scour, New South Wales. The degree of preparation and care taken with the task was extreme. The Scour closed production three days before and was extensively cleaned. On the day of scouring 12 tonnes of 17 micron wool was washed to condition the water, then nine bales of extra super fine wool, worth over $300,000 was washed as a trial run. Toabo Agaki Japan was employed to process the scoured wool into suit cloth. Taobo required the scoured wool to contain 0.5% residual grease, 12% moisture and a yield of 83kg. These requirements were met. The entire staff of the Scour wanted to be part of washing the best wool in the world. Without asking for payment both the night shift and afternoon shift crews assisted the day shift in the task. The bale was fed into the scour in seven minutes and fitted into three bowls, half the scour. It completely disappeared into the dryer and the last wool was fed before the first wool was out. The clean wool was hand-packed into cardboard cartons and freighted to Japan. Aoki International, based in Yokohama Japan, cut three suit lengths from the cloth, then blended the remaining wool into an exclusive line of commercially-available suits. These suits are labeled Kadinia.Wool sample from the Million Dollar Balewool sales, million dollar bale

A track to the top of Mt William existed many years before, an all weather road was constructed in the early 1960s Not only did engineers and construction workers enjoy some spectacular scenery during "smokos" but so have thousands of tourists Some even experiencing the freezing gale force winds which greeting Major Thomas Mitchell and his party in July 1836sPhoto shows 3 men looking over to Wonderland Range from Mt William. Two men are wearing hard hats The third man a felt hat - he is pointing to a point in the distanceWMT (Wimmera Mail Times}access routes, walking track, roads, mount william

ARARAT GOLDEN GATEWAY TO THE WIMMERAararat, victoria

C.9150'sB/W. Copy of Photo of Weatherboard House wire fence and gateEileen Wimmera Street Quartersreligion

Marching Girls with black Vests, in Wimmera Streetparades

WW1, Honour Roll Loyal Wimmera Lodge I.O.O.F.stawell, ww1

Residence Fountainhead Brewery Armstrong's Est. c 1872. The rear view photograph shows a more recent renovated building. Some evidence of demolition to rear of building (servants stairs etc.) Following notes taken from information in album 9 - "Compare earlier photos and note balcony etc. Later views, This photo early 2003. Owing to timber decay balcony was removed for safety. Finances permitting complete balcony will be replaced. Twin columns and iron lace are not original. Early description mentions statues in "niches" beside door. Female statue left is original. White pedestal at left was male stature damaged by a falling tree. Both statues were fountains." Photographs taken by Mr. Don Richard and held in Album 9b Armstrong’s Area.Two coloured photographs, of a brick double story building. The front view of the building has 4 windows and 2 doors. Two white columns at the entrance with decorative iron work support the roof of the porch with 2 white chairs and a table on top. Either side of the entrance door are 2 white wall indents "niches" with pot plants. The second photo show the back view of the two story building with a single story building attached that has a tin roof. A timber fence with a gate shows the side entrance to the single story building. 648M NHNN 8H01HPRO3 WIMMERA 1MHGINGstawell

Set of five colour photographs of Aboriginal Scar Trees near Campbells Bridge on the Wimmera River. Majority may be of canoes, one may be of a shield cut into the bark.Set of five colour photographs of scar trees. Taken in a bushland setting. First photo is a close up of the scar tree with a shadow over half of the tree. Second photo, same tree with less shadow over tree. Third photo, smaller scar cutting in rough bark tree. Fourth photo, distant view of scar tree with trees in the background. Fifth photo, close up of the distant tree, clearing showing the canoe scar. At Campbell's Bridge on Wimmera River. 1. A309/23 April 2, 1983. 2. A 309/24 April 2, 1983. 3. A 309/20 April 2, 1983. 4. A 309/18 April 2, 1983. 5. A 309/22 April 2, 1983. stawell

Ewan ROSS Ewen Ross grew in the Wimmera and aims to manifest the changing nature of this landscape in his work. This region is affectionately known as the land of the big sky and it is from this viewpoint looking down and across, which inspires his sense of image making. Occasionally he refers to stories that occurred from times past but generally these images reflect the current state of this land. From 1976 to 1978 Ewan Ross undertook a Diploma of Art (Painting) at Ballarat College of Advanced Education (now Federation University. He was awarded a Graduate Diploma of Education in 1982. He was a Curatorial Assistant at the Art Gallery of Ballarat from 1979 to 1981, and taught Art at Horsham Technical School between 1983 and 1985. From 1986-1897 Ewan Ross taught at the Wimmera Institute of TAFE, and was Lecturer in Painting & Printmaking at the University of Ballarat (nor Federation University from 1998-2005. In 2008 Ewan Ross was a finalist in the Fleurieu Biennale Art Prize. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, ewan ross, wimmera

Red cover with the title and volume written on the spine in gold lettering. Both front and back inside covers have a photograph of 'The school at Drummond North' Photo: Geoff Maugernon-fictionA centenary history of state education in Victoriaeducation, state education, victoria, history, glenelg, wimmera, mallee, loddon, central highlands, corangamite, barwon

Marching Girls with Light Blues Vests and Hats in Wimmera Stretparades

Marching Girls with light blue Vests and hats in Wimmera Street.parades

Back Row: Janet Tyler, Joan White, Paula White or Patty Barnett, Lois Denholm, Mary Wilson. Front Row: Jessie Clark, Mrs Agnes Wilson, Mrs CCaptain Denholm, Elieen Esky, Thelma White, Mrs Gwen Reeve.Two rows of eleven Girls & Women holding Tambourines in front of weatherboard House wall.Timbrel Bigade Opening of Wimmera Street Quartersreligion

The story of the impact of colonisation on Wimmera and district Aborigines, and of their relationships with the Moravian missionaries.B&w illustrations, b&w photographs

Blue White and Black. Wimmera Bowling Association ( A.E. Oliver Collection)stawell

Honour Roll of Past Grands I.O.O.F. Loyal Wimmera Lodge No 91stawell