The Queen's relationship with the Armed Forces began when, as Princess Elizabeth, she joined the Auxiliary Territorial Service (ATS) in 1945, becoming the first female member of the Royal Family to join the Armed Services as a full-time active member. During her time in the ATS, the Princess learnt to drive and to maintain vehicles The Queen has a long and close relationship with the Armed Forces, both in the United Kingdom and in the Commonwealth. As Sovereign, The Queen is Head of the Armed Forces, and is also the wife, mother and grandmother of individuals having served in the Forces.Brown ridged timber frame containing print of lady wearing evening dress and a tiara standing beside floral display on pedestal table.Her Majesty Queen Elizabeth II queen elizabeth ii, armed forces

Made by Vincenzo Longo, an Italian POW, in Murchison Camp 13, Graytown POW Camp and Tocumwal and presented to Vincent Villarroya, an Army Guard/Interpreter for Italian POW'sWooden framed, embroidered picture of "Head of Christ" worked in shades of red, blue, brown and cream cottons. Face and hands have been drawn. A bronze plaque in a small plastic bag is stuck on the back of the pictureDonated by the daughters of Vincent Villarroy 7/12/2007head of christ, embroidery, longo v, villarroya family, camp 13, tatura, ww2 camp 13, graytown pow camp, tocumwal, handcrafts

Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports

Boy with a Thorn Though the classical bronze that the figure was modeled has become known as Lo Spinario, both Stuart Rattle and Kevin O’Neill referred to it as The Boy with a Thorn. Information from the late Stuart Rattle and John Graham, the late Kevin O’Neill’s partner. The statue was bought by Kevin O’Neill from a South Yarra antique dealer in the 1980s. She had bought it in Europe. Stuart believed that it was cast in Berlin by Moritz Geiss who had pioneered the popular process of zinc casting of classical statues. Schinkel, the architect of early 19th Century Prussian public buildings used the process extensively. I assume that the decorations that can be seen in Berlin currently are copies of those copies, given the comprehensive destruction of the city in 1945. Unless there is a date stamped on the statue, and there might well be, there is no firm indication of its age, although Stuart and Kevin believed it was “turn of the century”. It was given to Stuart by John Graham after the death of Kevin O’Neill. Prior to its installation at Musk Farm, it was “by the dam” at Marnarnie, O’Neill’s property at Mt Macedon. It became a much photographed focal point in the sunken garden at Musk Farm. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who intend to give it, in turn, to Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. The CMP notes that statuary has been a feature of most botanic gardens (and a notable feature of the Ballarat Botanical Gardens) and James Lowe, the head of Parks for the Shire has also commented that it is an area that could well be developed in the Gardens. This comes from his attendance at meetings of the BGANZ, the “peak professional body” for the development and maintenance of registered botanic gardens in Aus and NZ. Given the lack of funds that the Shire has been able to allocate to the Gardens, a donation of this calibre is a welcome addition to the cultural asset that the Gardens represent. A very large number of residents of the Shire are members of the Friends, have visited Musk Farm and are appreciative of the Gardens. There is a current feeling that the Gardens are undergoing a dynamic revival as a result of the success of the Café and also because of the extraordinary improvement and enhancement of the amenity that has been undertaken over the past two years by the Friends. The installation of the Boy with the Thorn is another move forward for the Gardens. The statue is cast zinc. It is sometimes referred to a white bronze. As can be seen in the photographs, it is in very good condition with no damage or apparent degeneration of the metal. The Smithsonian Institution has a lengthy document relating to the deterioration and repair of similar casts in the US where urban pollution has taken its toll but for the most part it deals with inappropriate repair rather than maintenance protocols. One of the properties of zinc that is appreciated in Australia is its ability to withstand the elements and given that the artwork has been either on Mt Macedon or at Musk for the last 30 years or more, its relocation to Wombat Hill seems to be an appropriate one. The Friends are prepared to organise and pay for the relocation of the statue. The issue of security from the point of view of theft, malicious damage and environmental impact will need to be addressed. The Ballarat Botanical Gardens have recently reinstalled statuary which has been damaged and which had been removed from the Gardens on account of this. They have used Rockworks Ballarat and Wilson’s Memorials to make plinths, secure artworks with steel pins and to provide especially robust fixings to ensure the safety of the various sculptures. The CMP (2007) makes a number of recommendations regarding security in the Gardens ranging from the installation of lighting to the locking of the gates overnight and the repair/reinstatement of appropriate fencing – not done as yet to my knowledge. Paul Bangay has also agreed to act as a consultant in the process of installing the Boy. John Graham estimates its value at $20,000 The preferred location for the work would be at the entrance to the Fernery from the lawn. The paths form an intersection at that point that could be modified to fit the statue. But this is currently a suggested location only. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who have gifted it to the Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends of the Wombat Hill Botanical Gardens Daylesford see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. Lo Spinario (Boy with a thorn) c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome. c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome (Palazzo dei Conservatori, Musei Capitolini, Rome) Manufacturer M. Geiss, Berlin Nonedaylesford, wombat hill botanical gardens, stuart rattle, kevin o'neill, john graham, boy with a thorn, lo spinario, classical sculpture, zinc, classical nude, hepburn shire, public art, sculpture, art

This book bring together voices of children who were separated from their families, people who cared for them, families who took them into their homes and Government officers who carried out official directions. Contents of CD: Track 1. Jim Hart, b.1927, Queensland, separated from family as a child. See ch. 5. Interviewer: David Woodgate (3m 02s) track 2. Clara Coulthard, b.1929, South Australia, separated from family as a child. See ch. 3. Interviewer: Sue Anderson (4m 06s) track 3. John Moriarty, AM, b.1938, New South Wales, South Australia, Northern Territory, separated from family as a child. See ch. 4. Interviewer: Frank Heimans (4m 12s) track 4. Sandra Hill, b.1951, Western Australia, separated from family as a child. See ch. 11. Interviewer: John Bannister (4m 11s) track 5. Trevor Deshong, b.1965, Queensland, separated from family as a child. See ch .6. Interviewer: Colleen Hattersley (4m 45s) track 6. Julie Wilson, b.1958, New South Wales, adopted as an infant. See ch. 6. Interviewer: Frank Heimans (4m 04s) track 7. Dorothy Pyatt, b.1918, South Australia, police officer in remote South Australia, 1950s and 1960s. See ch. 8. Interviewer: Karen George (4m 18s) track 8. Margaret Somerville, MBE, b.1912, New South Wales, Northern Territory, missionary and cottage mother. See ch. 7. Interviewer: Frank Heimans (3m 15s) track 9. Reg Worthy, OAM, b.1920, Queensland, Northern Territory, Victoria, welfare officer, senior administrator, Departmental Head. See ch. 8. Interviewer: Barbara Erskine (4m 55s)D?.b&w photographs, b&w illustrations, CDstolen generations, child welfare, bringing them home, oral histories

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Eldridgest. philip's college, tudor, chris, eldridge, chris

In 1945 the Reverend Harry Griffiths, who worked for the Methodist Inland Mission in Alice Springs, saw the need for a boarding facility for children of families living in remote areas in Central Australia who needed access to schools. He and his wife established Griffiths House, on a site in the town centre, and for many years it became home for students from all over the Outback, including many young Aboriginal people. In the late 1950's the Rev Fred McKay, successor to the Rev John Flynn as Superintendent of the Australian Inland Mission, lobbied the United Church in the Northern Territory to build and expand on this important start. Together the Presbyterian, Methodist and Congregational churches embarked on a missionary venture to develop St Philip's College - a new, larger residential hostel which would one day become a full boarding school. An ideal site - 22 acres of bush at the junction of the Charles and Todd Rivers and backing on to the Telegraph Station National Park - was secured and after six years of planning, construction began in 1964. Fred McKay led the legendary work parties comprised of volunteers from all over Australia who travelled to Alice Springs, paying their own way and volunteering their expertise, time and labour, to turn a dream into a reality. This fantastic tradition continues today, with work parties arriving each mid-year holiday. On 13 February 1965 the first boarders moved in to St Philip's College. For the first 24 years, therefore, St Philip's College operated as a residential hostel only. The College’s ninth Headmaster, Mr Christopher Tudor, arrived in 1986. He and the Council Chairman, Mrs Jan Heaslip, judged that the time was right to complete the original plan to turn St Philip’s College into a fully fledged independent boarding/day school, serving not only “bush” families, but also the growing population of Alice Springs. The then College Council embraced the idea and three years of frantic, determined preparation and planning commenced, culminating in an extensive $2 million building program in 1988. To this day there continues to be further development with the new landscaping underway near The Minnamurra Hall, Reception and Rivergum Cafe, plus the recent completion of the Science & Food Technology building and the new Rivergum Cafe.Head & Shoulders of Chris Tudor.st. philip's college, tudor, chris, eldridge, chris

According to information on the back of the card, Mr. Griffiths was the Head Teacher at Bulla SchoolB/W unframed photo studio portrait of the Griffiths family. It has a slight singeing along the top RH corner. It is presented in a postcard form.griffiths, - (mr), - (mrs), bulla primary school, schools, teachers, richards and company, ballarat, george evans collection

It is a portrait of a person assumed to be a distant relative of the Evans family. The photo has been handed down through four generations to the donor, Jane Ireland.A framed copy of an oval type photograph of a lady. The frame is made up of a brown stained timber on the outside with a gold surround in the middle and a red velvet inner surround. The head and shoulders portrait shows a lady dressed according to the fashion of the late Victorian era.evans, anne, holden, anne, emu bottom homestead, settlers, george evans collection

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

From a family who had three generations that worked for Dennys Lascelles. This is the annual financial report for Strachan, Murray and Shannon for the financial year of 1923. Their head office was in Moorabool St, which is now Westfield.Off-white two page paper document. Front cover has a list of the staff responsible for compiling the report. Middle two pages have an overview of the report and a series of numbers describing the finances of the company. Back cover has a short paragraph about the document.

Found in Audrey Lascelles Barwon Heads house.Ledger, bound in brown leather, marbled end papers, "Ledger" embossed on spine. First pages alphabetically tabed, remaining 170 pages printed blue and red lines. Entries are a personal record of expenses of the Dennys family 1879-1882wool stores wool sales, dennys, lascelles limited, lascelles, mr edward harewood dennys, mr charles john, wool stores, wool sales

The main photograph of the battery, "Vivian" a 24 Head Stamper is now in Beaconsfield, Tasmania. The battery head stamper was made in 1862 for crushing gold ore for the "Newchum" mine at Pleasant Creek (now Stawell) Victoria. In 1933 the Chintock family used the Head Stamper to cruse tin ore in a mine at Blue Teir in north-eastern Tasmania. It is not know how or when "Vivian" the battery head stamper came to Tasmania. In 1993 the battery was restored as is a working exhibit in the museum at Beaconsfield Tasmania.Two colour photographs, one of the Battery and the other information about the Battery. The main photograph of the battery, "Vivian" a 24 Head Stamper now in Beaconsfield, Tasmania. The battery head stamper was made in 1862 for crushing gold ore for the "Newchum" mine at Pleasant Creek (now Stawell) Victoria. Beaconsfieldstawell, mining

Cahill Reward Gold Mine Company. Building still under construction c 1896 closed 1901. Thomas Kinsella had photo. In 1907 the Pleasant Creek Alluvial Mining Company reused the shaft digging down to 200 feet to work the ground and sank a second shaft nearby.Group of people standing under Poppet Head in front of partially constructed Engine House

Tales of Hall's Gap in the Grampians, as collected by the Pupils of Hall's Gap Primary School, from the descendants of Pioneer Families, and Recorded prior to 1940. Rerecorded from old well worn notes, by Grant W Greenwood, Head Teacher 1937-1939.Fawn cover with drawing of trees and mountain in the background. in the foreground is a bridge over a river, with a woman in a dray. Presented to Stawell Historical Society Ida Stanton May 1989stawell grampians

Huttley - Martin FamilyB/w: Head Portrait of Madge HuttleyMadge Huttley aged 17huttley, martin

Huttley - Martin FamilyCard: Cream foxed. Stained, worn. Photograph B/W: 1 Woman Seated, white dress holing bouquet hair hair hanging loose over right shoulder, ribbon around head. 1 Male standing to left with arm resting on back of chair, wearing 3 piece suitEmbossed on card: With Best Wishes. Printed on card The Burlington Studios 254 Bourke St Melbourne. O Rear of Card Madge & Ray Huttleyhuttley, martin

From the Chapman family photograph albumPhotograph on Card Backing Seated Woman with girl standing her hand resting on the woman's arm. Woman has fascinator and dark dress with puff sleeves, lace down bodice and dark tie around neck. Girls dress is purloined velvet with lace collar wide brimmed and ribband hat tied onto head "GRAM" Henderson and Mary

Joshua born 1848 dressed in suit with right hand in coat. Agnes or Emily with short curly hair and Leg of Mutton sleeves dress. Arthur wearing three piece suit with Fob watch on chain. Front row Walter sitting down arms folded wearing three piece suit. Anne (mother) hat on head holding card, dress puffed sleeves with tie around waist. Agnes or Emily hair is pulled back, frilled collar and puffed sleeves with embroidered bodice. Both Giles women married Heal Brothers.Writing on back of photo

People - "Smith, B; Milvain,T; Brereton, M. A. & Family" Associated with - The Aina Studio Melb.

James Dearing was the head gardener for Benjamin Nathan, who owned Rippon Lea between 1909-1935. Dearing is believed to have worked for the Nathan Family at their previous home in High St., Armadale. He is understood to have left the employment of the Nathan's in about 1914-1915.Decorative prize certificate awarded to Mr James Dearing, head gardener to Benjamin Nathan, by the Royal Horticultural Society of Victoria on the 11th February 1909, for "1 new or rare Plant". Certificate is made of white paper mounted on to cardboard. Decoration and text are very similar to RL 0448- the certificate is a cream coloured cardboard with printed text and decoration in green ink. The decorations consist of: a shield with a lion and a horse on either side, at the top of the certificate; a sheild with a kangaroo and an emu on either side, with advance Australia below, on the bottom of the certificate. On either side of this are two circles, the right circle consists of flowers, the left circle consists of fruit. Surrounding all this are various flowers and foliage filling up the space inside the border decoration.Handwritten in ink: Mr James Dearing Head Gardener to/ Mr Ben Nathan Armadale/ 1 new and rare plant/ Dendrobium Nobile .........../ WR.............. Vice/ James R a Milligan/ 11' February 1909rippon lea, dearing, james, nathan, benjamin, royal horticultural society of victoria

Photo depicts a final year woolclassing class from the Gordon Institute in Geelong. They have prepared a display re: woolclassing for the visit of the Prince of Wales to Geelong in 1920. They are on the top floor of the Dennys Lascelles woolstore. The donor's father, Mr Cyril Cameron, can be seen in the photo at sixth from the right. Cyril Cameron (known as 'Cam') came from the family property 'Burnside' near Glenthompson in the Western District. He joined Strachan & Co. as an office boy in Aug. 1914 and then joined the 8th Battalion, 1st AIF in January 1915. He returned to Australia in early 1920 and started work at Strachan's again. He did the wool classing course (one year, evening?) at the Gordon in 1920-21. He became Head Wool Valuer at Strachan's in 1938 and retired in 1970. His office at Strachan's was on the top floor, directly overlooking what is now the entrance to the National Wool Museum (formerly Dennys Lascelles woolstore). He died in 1983. Interestingly, within the photo, can be seen a poster on the wall advertising the RSS or Diggers' Mill. The mill opened in 1922 but had been advertising for investors since the end of the war.Photograph, Gordon Technical College wool classing course, 1920. Wool classing display for the visit of the Prince of Wales at the Dennys Lascelles wool store.GEOFFREY S. WOOD, PHOTO, GEELONG Dennys Lascelles Show Floor 1920 / Visit of Prince of Waleswoolclassing royal visits, gordon technical college - woolclassing department, cameron, mr cyril, dennys lascelles wool store, woolclassing, royal visits

This photograph shows the removal of the mansard roof from the Dennys Lascelles wool store (cnr Moorabool and Brougham Streets; now the National Wool Museum). This photo was taken by Mr Cyril Cameron (known as 'Cam'), the father of the donor of this item. Mr Cyril Cameron came from the family property 'Burnside' near Glenthompson in the Western District. He joined Strachan & Co. as an office boy in Aug. 1914 and then joined the 8th Battalion, 1st AIF in January 1915. He returned to Australia in early 1920 and started work at Strachan's again. He did the wool classing course (one year, evening?) at the Gordon in 1920-21. He became Head Wool Valuer at Strachan's in 1938 and retired in 1970. His office at Strachan's was on the top floor, directly overlooking what is now the entrance to the National Wool Museum (formerly Dennys Lascelles woolstore). He died in 1983. Mr Cameron took this photo from his office in Strachan's. The date written on the back of the photo (1932) is in Mr Cameron's handwriting.Photograph, showing the mansard roof being removed from the Dennys Lascelles wool store, Geelong, 1932.Dennys Lascelles / Geelong / Wrecking tower / 1932strachan, murray and shannon ltd dennys, lascelles limited, cameron, mr cyril

Photo depicts the interior of the Strachan, Murray & Shannon Limited wool store in Geelong after a record price was reached for the wool shown. This occurred on 24 November, 1920. This photograph was owned by the donor's father, Mr Cyril Cameron. Mr Cyril Cameron came from the family property 'Burnside' near Glenthompson in the Western District. He joined Strachan & Co. as an office boy in Aug. 1914 and then joined the 8th Battalion, 1st AIF in January 1915. He returned to Australia in early 1920 and started work at Strachan's again. He did the wool classing course (one year, evening?) at the Gordon in 1920-21. He became Head Wool Valuer at Strachan's in 1938 and retired in 1970. His office at Strachan's was on the top floor, directly overlooking what is now the entrance to the National Wool Museum (formerly Dennys Lascelles woolstore). He died in 1983. This photo was originally framed together with another similar photo (3122) and a document (3123) detailing the wool sale and prices under the title "Record Sale 24 November 1920". The two photos focus on lot 372, one looking to the north and the other to the west. These three items may have been a requirement of Mr Cameron's wool classing course.Interior of Strachan, Murray & Shannon Ltd, Geelong in Nov. 1920....ORLAME / ... 7 1/2Dstrachan, murray and shannon ltd, cameron, mr cyril

Photo depicts the interior of the Strachan, Murray & Shannon Limited wool store in Geelong after a record price was reached for the wool shown. This occurred on 24 November, 1920. This photograph was owned by the donor's father, Mr Cyril Cameron. Mr Cyril Cameron came from the family property 'Burnside' near Glenthompson in the Western District. He joined Strachan & Co. as an office boy in Aug. 1914 and then joined the 8th Battalion, 1st AIF in January 1915. He returned to Australia in early 1920 and started work at Strachan's again. He did the wool classing course (one year, evening?) at the Gordon in 1920-21. He became Head Wool Valuer at Strachan's in 1938 and retired in 1970. His office at Strachan's was on the top floor, directly overlooking what is now the entrance to the National Wool Museum (formerly Dennys Lascelles woolstore). He died in 1983. This photo was originally framed together with a similar photo (3121) and a document detailing the wool sale (3123) under the title "Record Sale 24 November 1920". The two photos focus on lot 372, one looking to the north and the other to the west. These three items may have been a requirement of Mr Cameron's wool classing course.Interior of Strachan, Murray & Shannon Ltd wool store, Nov. 1920.strachan, murray and shannon ltd, cameron, mr cyril