Personal papers - set of 9 copies of pages downloaded from the Wikipedia pages all accessed 6/7/2006 of use in the provision of information to "Tickets Please". Shows what information was available at the time. Most sheets have been stapled. Comprises: 1 - National Bus Company (2006) - 2 sheets 2 - Ventura Bus Lines - 4 sheets 3 - Skybus Metcards - 2 sheets 4 - Melbourne’s Tram History - 4 sheets 5 - Melbourne’s cable trams - 2 sheets 6 - 100 years of electric trams - photo gallery - 2 sheets 7 - Yarra Trams - trams in the war years - 2 sheets 8 - The history of Yarra Trams - 1 sheet 9 - A Century of electric trams in Melbourne - multiple sheets ex Yarra Trams website. - listed by decade - 28 sheets.trams, tramways, centenaries, 100 years of electric trams, buses, metcard

ill, p.48.non-fictionA photographic profile country railway stations in Victorian between 1950 & 2000.railroads - victoria - pictorial works, railway stations - victoria - history

ill, p.48.non-fictionA photographic profile country railway stations in Victorian between 1950 & 2000.railroads - victoria - pictorial works, railway stations - victoria - history

ill, p.48.non-fictionA photographic profile country railway stations in Victorian between 1950 & 2000.railroads - victoria - pictorial works, railway stations - victoria - history

64 p.; 21 cmnon-fictionA history of the Narre Warren North State School as it prepared for its centenary in 1977. Topics include early history, some pioneers, one hundred years ago, roads and services, entertainment, churches, schools. Photographs. (Trove)narre warren north state school, narre warren north (vic.)

12 pagesnon-fictionWritten for the 130th anniversary the book chronicles the church's history and the people who have been associated with it.narre warren north (vic.), narre warren north uniting church

ill, maps, p.226.non-fictionIllustrated history of the railway stations on the closed railway lines of the Victorian Pyrenees including the line to Navarre & Ararat to Maryborough.pyrenee range (vic.) -- buildings, structures, etc -- history, railroad stations -- victoria -- pyrenee range -- history

ill, p.76.non-fictionA description of the preserved steam locomotives in Victoria (possibly in 1982).preserved locomotives - victoria - history, railroads - victoria - history

Ill. index, p.245.non-fictionThe second world war in words and picturesworld war 1939-1945 - history, world war 1939-1954 - photographic record

Index, ill, maps, p.476.non-fictionChronicles the Korean War with over 200 interviews of veterans, including the Chinese. korean war - history, cold war - history

David Stabb lectured in Chemistry, Max McGarry and Frank Martin were Technical Officers in Metallurgy.Colour photograph of three Ballarat University College staffmembers, c1990. They are (left to right) David Stabb, Max McGarry, Frank Martinballarat uinversity college, metallurgy, chemistry, stabb, mcgarry, martin

Coloured photo of Raffle Prize 1999. Painting by Barbara Rogalski, Frame donated by Bruce Reynolds. Won by Society Member, Max Grant.nunawading and district historical society, rogalski, barbara, reynolds, bruce, grant, max

This book was used by former student of the Ballarat School of Mines, Max Gaunt, in 1905.Brown hard covered book of 602 pages.Signed inside front cover "Max L. Gaunt, SMB 14/3/05"chemistry, gaunt, ballarat school of mines, churchill, clowes, frank clowes, coleman, bernard coleman

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Colour postcard of the interior of St Paul's Cathedral, Melbourne by Max Ahearne, Renwick Pride, Gravure Print.St Paul's Cathedral, Melbourne, Australia - Sanctuary / Foundation stone, 1880; Consecrated 1891; Spires computed 1931. Exterior length, 276 feet. Moorhouse spire, 317 feet in height. Architect, William Butterfield, 1814-1900. / Colour photo by Max Ahearne, Renwick Pride, Gravure Print.st paul's cathedral -- melbourne (vic.), postcards -- churches -- melbourne (vic.)

Black and white photo of William Fraser Grant, grandfather of Society Member, Max Grant. Born Forbes, Aberdeen, Scotland 17/10/1845, died Bulla, Victoria, 30/4/1916. Married Catherine Jane Marden at St.Kilda on 23/6/1873.grant, william fraser, catherine jane, max

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920 they published prints of art from original works of famous and not so well-known artists. The published items were distributed by the House of Art, NY, which continued on into the 1950s. The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the organisation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has two small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art

Max Grant was the founder of the Mitcham Repertory Group. He performed, directed and produced 100 plays over 70 years. In 1988 he was named Nunawading Citizen of the year. He died on 22nd September 2000.12 small black and white photographs (a-m) of the erection of Max Grant's house at 8, Hazelmere Avenue, Mitcham. Plans and Specifications at ND 2873hazelmere avenue mitcham no 8, grant max, houses

Sketch of Hans Beck by Max Graf; unknown who did other two sketches. Hans Beck, Sydney based wool buyer, interned Bathurst Goal and Camp 1.Square cream board with 3 Black and white photograph of 3 sketches, laminated onto board: a head and shoulders sketch of a man in a suit and tie, drawn by Max Graf (internee), inscription Max Graf 1940; looking into a cell, inscription H M G Bathurst 30 Sept 1939; Sketch of a section of Bathurst goal, inscription Mr H Beck Esq Goal Bathurst A Hall.wool buyers, camp 1, bathurst goal, hans beck, max graf

Black and white photo of Catherine Jane Grant, nee Marden. Catherine's going away dress in Museum. Grandmother of Society Member, Max Grant. Born Pentland Hills, Bacchus Marsh 19/5/1849, died Murrumbeena 20/6/1925. Married William Fraser Grant at St.Kilda 23/6/1873.grant, catherine jane, marden, william fraser, max

Part of the "Squatter" game archiveMax Costersheep stations - management wool growing squatters, young farmers of victoria, lloyd, mr robert, sheep stations - management, wool growing, squatters

Information about Simon (Simeon) Max and Max family. Sam Sin and Max Sina arrive Melbourne 1857 from Prussia. (half-brothers). Sam Sina (Hebrew name Shimon) married Annie Nathan, Sandhurst Synagogue 1873 (shown on marriage certificate as Simon Sina). Died in Sydney, known as Simon or Simeon Max.. Simon had pawnbroking and jewellery shop in High St, Sandhurst. Annie buried White Hills Jewish Cemetery. Max Sin resided in Sandhurst, married Hannah Mathews. Max Sina signed his marriage certificate Sina Max.person, individual, max family, american ship dragoon, simon max, annie max, bendigo synagogue, hannah mathews.

Mr Maxwell Pemberton was born in Goulburn, NSW in 1923 and moved to Beechworth as a child just before the Great Depression. Mr Pemberton's father was a baker who opened a grocery store in Beechworth to support his seven children. The store, which competed with eight other grocery traders in Beechworth for finite local business, delivered goods by horse and cart to customers all over the district, including the hamlet of Stanley. Mr Pemberton's oral history testifies to the sorts of economic struggles faced by the majority of Beechworth's residents during the depression years. Mr Pemberton worked in many different industries in and around Beechworth, including in his father's grocery store, which he later took over with his brother; the Zwar Tannery, where he served as a union representative; and at the Ovens and Murray Hospital for the Aged, formally the Ovens Benovolent Asylum, established in 1862 for care of the district's destitute, disabled and aged people from Euroa to the Murray, among them, homeless people Mr Pemberton referred to as 'river-bankers'. The hospital's founding in the 1860s was driven by a committee headed by the notable figure, G.B Kerford. Beechworth's institutions were a major source of local employment in the twentieth century. Mr Pemberton joined the Australian Navy during WWII and served at Port Moresby in Papua New Guinea. During his period of service, he received an honorary award from the Royal Humane Society of Australia for aiding and saving a drowning civilian at risk to his own life. Mr Pemberton's oral history also touches on the complex relationship between Australian forces and local Papuan people during the war. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mr Maxwell Pemberton's oral history recalls many aspects of life in Beechworth and the Oven's district during the twentieth century and enriches our understanding of the effects of the periods of socio-economic decline and renewal that unfolded as the century progressed. His singular account of his various jobs and colourful memories of life as a youth and young man in Beechworth, and abroad as a serviceman, contributes to our understanding of society's attitudes and expectations regarding ideals of masculinity and Australian national identity. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which would have been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mr Max Pemberton /twentieth century beechworth, benevolent asylums, wwii, beechworth's institutions, local employment, government institutions, listen to what they say, oral history, burke museum, maxwell pemberton, ovens and murray hospital for the aged, zwar tannery, beechworth grocers, australian navy, port morseby, papua new guinea, trade unions, welfare services, homelessness, 'river bankers', aged care, g.b kerford, ovens benevolent asylum, ovens benevolent home

some significanceBlack plastic frame with gold trim, glass fronted. Has a verse titled "My Minutes Silence" Red Poppy in right hand lower cornerMax Evans 2007

8498.1 - Red painted wooden box with hinged lid and latch.- Detonators max. 25