Artist's Statement: I spent time visiting the barracks, museums, libraries, gaining information, making special pencil drawings and colour notes, when and where possible. Preparatory drawings for larger paintings were always on detail paper. The reason for this was I could use both sides, correfting mistakes on either side, until a satisfactory end. I use this procedure so that the surface of the painting paper was not effected by erasion. The final drawing was traced on having rubbed a stick of charcoal on the detail paper. I have used this procedure from my early days as a commercial artist. In drawing each horseman fully and tracing each horseman fuly in his place in relation to the whole and rubbibg out the parts covered by the nearer objects. Such essential things as legs and shadows are sure to be in the right place. Most of the pencil drawings of the palace gates, and other features I needed had to be made from a standing position. all these were filed for future reference. Everything had to be in the right proportion to the palace gates. The procedure for the Escort is as follows: If the Life Guards mount the escort an officer of the Blues rides at the right of the coach by invitation. The Guards officer rides on the left. Then follows the Standard flanked by a commissioned officer on the right. The trumpeter on the left. The trumpeter rides on a white horse. He has a selection of twelve different uniforms. After that follows the unit. The stirrups used by the officers are squarish. The troopers stirrups are a conventional form. All personnel riding and on no account rise in the stirrups as normally they would at the trot. This modifies the ragged impression of heads bobbing up haphazardly - their behinds become acclimatized in time." Gift of the Artist, 1981. Allan BERNALDO (05 August 1898-25 June 1988) Born Creswick, Victoria Allan Bernaldo won a scholarship to the Ballarat School of Mines to study Architecture. He received a certificate of merit in 1917, and the Ballarat School of Mines President's medal for the most meritorious Art student. Allan Bernaldo was editor of the Ballarat School of Mines Magazine in 1918. He became known as a commercial artist, teacher and water-colourist who specialiesd in horses and flowers. He died at St. Ronan’s Nursing Home in Armadale, Victoria and was buried at Springvale Botanical Cemetery, with his wife Florence Victoria May Elliott, who predeceased him in 1966. 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.Gift of Allan BernaldoFramed watercolour painted from materila gathered while the artist was in London during 1952 showing the queen's guards on horseback. art, artwork, bernaldo, allan bernaldo, royalty, guards, watercolour, available

National Standard Race (abbreviated NASTAR) is the world's largest recreational ski and snowboard race program which was founded in 1968 by SKI magazine. It uses a handicap system which allow skiers and boarders of all abilities to have a go at racing and compare their times to the best racers in the world. NASTAR courses are simple, open-gated slalom courses on mostly intermediate terrain, allowing skiers of all abilities and ages to experience racing. The NASTAR race course at Falls Creek is still the home of the Rossignol Children's Cup and the Cranky Charlie Cup each year, conditions permitting.This item is significant because it is linked to the NASTAR events held at Falls Creek throughout the 1980s.A paper number bib used by a participant in the NASTAR ski event at Falls Creek. It is primarily black and white, with the number and Falls Creek printed in red. It is in a frame under glass. It bears the names of major sponsors.ANDRONICUS COFFEE NASTAR 7 FALLS CREEK Steins World Ski Tours Continental Airlines Challenge Series DYNASTARnastar racing, falls creek race club

army video magazine 2/91, sarp - steyr, uniimog, defencepak, aier, battlecraft series promo, ex predator's advance, new live-in accommodation, home loan assistance scheme, army alpine lodge thredbo

Newspaper articles from 'The Sun,' 'Walkabout' magazine and a 1969 calendar all about historic homes of Australia.properties, historic homesteads, lydia chancellor, history, australia, buildings, national trust

The Hanro company was established in Switzerland in 1884. In 1926 a site in Hargreaves Street Bendigo, behind the School of Mines, was purchased to establish the Bendigo Knitting Mills, a subsidiary of Hanro. The managing director was Charles Handerchin who came from Switzerland. The company was delisted from the Australian Stock Exchange in 1963 when it was taken over by John Brown Industries.Hanro Autumn - Winter Catalogue 1961: The front cover is of a white and pink card background is a sketch in black ink of a lady wearing a matching night dress and dressing gown. To the right top is a sketch of a cuckoo clock. A black banner with Hanro in Pink is also to the right and across the bottom is *Swiss-inspired Lingerie . Catalogue Autumn - Winter 1961*. Inside the cover is advertising and the Index. The Catalogue consists of sketches of ladies wearing a variety of lingerie with the items number, description, material, size, quantity and colours available on gloss paper. The last page is of yellow paper and is the suggested retail selling prices, Style, item number, sizes. On the back is Trade Price List, Style, Size Range and price. On the back of the catalogue on pink and white card is a scene of pink sky with white clouds, sketched in black ink is the Swiss Alps with a Swiss Chalet, trees, flowers and a cow. In a box with a black border on a white background is *Hanro (Aust) Knitting Mills Limited. 163 Hargreaves Street, Bendigo, Victoria. 3024. Sales Offices, addresses and phone numbers of Melbourne, Sydney, Brisbane, Perth, Adelaide and Hobart. There is a sketch in black on a pink background of the Hanro factory in Switzerland *The home of World-Famous Hanro in Liestal, Switzerland*book, magazine, catalogue, hanro. catalogue

BHS CollectionHanro Autumn-Winter 1960 Catalogue: Red coloured card with black and white print is a scene of the Swiss Alps and two Swiss Chalets on the top half of the Cover with *Autumn - Winter 1960 Catalogue* printed in white. At the centre is a white rectangular banner with *Hanro Quality Knitwear For Men* printed in black. The bottom half is three men one sitting on a chair, two standing in front of a wrought iron balustrade wearing Hanro garments sketched in black ink. The first has a V necked ribbed pullover with raglan sleeve and contrasting stripe on the sleeve, neck and waist band. Next is a Crewe necked, saddle shoulder Pullover with fold over neck, knitted bands on sleeve and waist. The third is a V necked patterned cardigan with four buttons, saddle shoulder and pockets either side. Inside the cover on white card with black print is advertising to the left and the Index is on the right. The first page of the catalogue outlines the qualities of their garments. Inside are sketches of their Pullovers, Slip-on's, Cardigans and Sleeveless Cardigan's along with the Style number, Name of Garment, colour and size. The back has the price list to the left and on the right is a list of advertising materials. At the bottom printed in black is *This year, go along with Hanro - for Handsome Profits in Knitwear! Inside the back cover on white back ground with black, grey print and sketching is *Here Now! The very latest Continental Wool knits Styled in Switzerland*. Sketched is a Swiss Alps and village scene. In the foreground on a balcony are two men and a lady wearing Hanro Knitwear. In the centre printed in black is *Permasized & Mothproofed for life with 'Mitin'. A black Banner with white print is *by Hanro. At the bottom is a sketch of the Liestal Switzerland factory The Home of Hanro* The back cover, red with white and black print. A 5cm black strip vertically from top to bottom of the page. 5cm from the top on a white banner is *Hanro (Aust) Knitting Mills Limited* printed in black. Under that is the address and phone number of the Bendigo and Melbourne Sales offices. Down to the right is the details Representing other states is Queensland, Western Australia, South Australia and Tasmania. At the bottom left in a white box is a sketch of the Hanro Factory in Liestal Switzerland. On the button is *The Home of world-famous Hanro in Liestal, Switzerland. Box 116Abook, magazine, catalogue, hanro. catalogue

Story is about Gabrielle Hartley, a TV actress purchase of W2 599 and repurposing it into a cottage while their house is being built. Located at Myrrhee, converted into a three-room cottage. Has interior photos and one exterior photo. Also has details of her working career.Yields information about tram 599 and its repurpose at a cottagePages 8 & 9 from the 8/9/1979 issue of New Idea magazine.tramways, new idea, scrapped trams, repurposed trams, tram 599, gabrielle hartly

Eight page magazine, folded A3 printed on gloss paper, blue and black ink, "Infrazine" - Department of Infrastructure Victoria, Issue 11, December 1998 with the main article on the redevelopment of Hawthorn Tram depot - titled "New Home for Heritage Trams". Gives details of the history of the depot, involvement of the Department of Infrastructure, Public Transport Corporation, and the Urban Land Corporation, TMSV and the future use of the heritage trams. Article signed by Brandon Mack. Other items cover legal services, the Marine Board, regional offices.trams, tramways, hawthorn depot, ptc, doi, reconstruction

Australian First World War recruitment poster. This poster was part of the First World War Australian Government Recruiting Kit. Recruitment posters were prolific in Australia throughout the First World War. Australia relied solely on voluntary recruits to serve in the AIF. Compulsory military service, or conscription, for eligible men was in force in Australia from 1911, however, these forces were for home defence and could not be used to serve in a war overseas. Following the initial rush of men to recruit in 1914, enrolments dropped, leaving federal and state governments to devise sophisticated campaigns to boost numbers.Norman Lindsay (1879-1969) was a painter, draughtsman, illustrator, cartoonist, printmaker, writer and sculptor. He joined the Sydney 'Bulletin' magazine as a staff artist, 1901-09, 1910-23 and 1932-58. During the First World War he produced jingoistic cartoons and pro-conscription posters. The is one of the series of six posters by Lindsay constituting the last nation-wide Australian recruiting campaign. A coloured poster of soldier sounding his bugle for assistance on the front line while civilians listen in the background.recruitment poster, norman lindsay, ww1

Neisha Forbes of Plenty Historical Society, speaking with host Marie Ryan of Magazine, on Plenty Valley FM Radio about Plenty, the Plenty Historical Society and the Sutherland homes as well as a brief review of the recent presentations held at the Eltham Living and Learning Centre as part of the Tales of Old Nillumbik presentations.audio recording, plenty, plenty historical society, sutherland homes

A magazine article regarding accommodation and facilities at Somerled Mountain Retreat in Marysville that was published in 2000.A magazine article regarding accommodation and facilities at Somerled Mountain Retreat in Marysville that was published in 2000.marysville, victoria, australia, somerled holiday home, somerled tea house, somerled mountain retreat, accommodation, j.c. greatorex, r. greatorex, mrs d. ivey, somerled road house, magazine article

Green cover, gold writing on cover ' 3BO Women's Club, The Home Forum', along bottom of cover in scroll ' Happiness is born in the home' written around an 'AWA' symbol. Magazine contains details of personnel and branches. In the introduction ' women have big responsibilities, but the woman who does not love her home does not love anything.... at its (Women's Club) birth in 1936, they chose for their symbol a Home and their motto - Happiness is born in the home'3bo women's club, the home forum

Women's Club Magazine (2 copies). Aqua cover, gold text, on cover: '3BO Bendigo, Amalgamated Wireless (A/SIA) Ltd. Home Forum 1940, Women's Club Magazine' Magazine contains details of personnel and branches. Photos of some members with their 'nicknames'.magazine, 3bo women's club, 1940

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

General biographical article tracing her whole life through to her retirement activities.A page from a magazine with a blue border, three columns of text with a portrait black and white photograph near the centre of the page of a woman looking over her left shoulder.'Womans Day 20.7.53 WWII' [blue ink across the top of the page] 'CBE. RRC' [blue ink next to caption under photograph. CBE = Commander of the British Empire, RRC = Royal Red Cross Award]wwii, world war two, ww2, florence nightingale medal, annie moriah sage

This Cat No 5880P and the following ten Cat No's to 5890P were part of the original GRINTON PHOTOGRAPHS exhibition in 2008. Each frame follows a story from the 'War to Home' at Tragowel near Kerang, Victoria. The Grinton Collection was a large negative collection found in a tin at Myers Flat and developed from there. Frame 1. 1. Jack Grinton in full marching order. This appears to have been taken after Jack came back from being wounded the 2nd time on 31/9/1918 in the push into the Hindenburgh Line. He was away 3 months with his wounds and rejoined his unit at Visme-au-Val on 11/1/1919, a small village near Abbeville, France. he is wearing his two "Empire Wounded Stripes" on his arm. It is believed he took this photo to show what a fully kitted out digger looked like. 2. Full kit lid out, right down to a tooth brush. It is also believed this was taken to go with the above photo. Note the protective cover on the rifle trigger and magazine area. 3. Mess parade line up. From notes of Jack this could be at "Gamaches", France where the last group of 111 men of the 38th Batt in the 45th quota left to come home. They went from Gamaches to Havre then to England. 4. In "Billets" behind the lines. Note the straw on the floor. When a unit came out of the line they were billeted in farm houses, barns, sheds, homes and at times anything that would give the men shelter from the elements. Refer Cat No. 1280 for Jack GRINTONS Service Records. Photographs - black and white on paper. Four photographs top to bottom, Soldier in uniform, Full kit laid out, Mess parade line up, Billets behind lines. Frame - timber, black colour paint with glass. Mount - black cardboard. Backing cardboard with handwritten notation.On backing cardboard - handwritten in black felt tip pen "1."framed photographs, grinton collection, ww1, 38th

The Wrangler was a magazine issued during WW2 in Western Australia with proceeds going to W.A. Prisoners of War. The magazine contained stories, jokes, poems etc and were mainly contributed by readers. The readers seem to be mainly from an industry factory most likely in armaments.Small 16 page magazine stapled together on cream coloured paper. On top is a picture of a wreath with two bullet shells making up a "V". Titled "The Wrangler" and has Vol No. date and price. Contents were written in black and were message to readers gossip on workers, social news, poems and general news.Titled "The Wrangler".the wrangler, book, home front, ww2

In May 1931 the Australian government announced a 20% reduction in expenditure, cuts to wages and pensions, and increased taxation. Despite workers striking, wages were reduced and working hours increased. The economy plunged into depression. Workers blamed the hardships on greedy bankers and the rich elite. The unemployed’ home-made, designed, knitted, painted and created things like pegs, pincushions, soaps, kitchen utensils and Pokerwork art, to sell door-to-door or in the streets. ‘Make Do and Mend’ was the mantra of the time. Making and mending clothing at home became a means to save money and an income offering services mending, altering or making clothes for the working people. Making over garments had been a time-honoured tradition since pioneer days. During the Depression clothes were a luxury and new fashions were created by altering old clothes. A best dress became a housedress, a church suit became a mine suit. Old shirts became new aprons, old trousers became new hats. Magazines and newspapers published Instructions on making and mending clothing and these became curriculums for sewing classes. Darning, mending, patching, saving fabric for rags, patches or upcycling became a necessity. Having a Sewing machine like this 1927 Singer housed in Oliver Gilpin’s store at Coal Creek Community Park and Museum could be the difference between survival and starvation The popularity of publications such as ‘Make do and mend’ lasted through the Second World War and into the 20th Century. Hand operated Singer sewing machine with wooden cover, circa 1927Y4476618