Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

This set of 11 colour photographs were taken at a drill rehearsal probably in October 1990 for the Army Survey Regiment’s Freedom of Entry parade at Bendigo. WO1 Colin Cuskelly was acting as the escorted Bendigo Lord Mayor on an inspection of the troops. The Freedom of Entry to the City took place on the 26th of October 1990. This was an honour first conferred by the Bendigo City Council to the Army Survey Regiment in 1970. The parade was the fifth time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985 and 1995. See Item 6248P for a photograph taken and more detail of the Freedom of Entry parade. It is also possible the drill rehearsal was part of preparations for the Corps Day parade held earlier on the 1st of July 1990.This is a set of 11 colour photographs of troops from the Army Survey Regiment undertaking drill training at Fortuna, Bendigo 1990. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1990. Front rank L to R: SSGT Peter Mustart, SPR Mark Bird, SPR Tony Hilbig, CPL Roger Pearson, unidentified (x2), SPR Eric Nicolson, remainder unidentified. .2) - Photo, colour, 1990. Front rank L to R: SSGT Peter Mustart, remainder unidentified. .3) & .4) - Photo, colour, 1990. L to R: SSGT Bruce Hammond, SGT Max Watson, unidentified, SPR Todd Reynolds, SPR Rachel (Stanford) Scott, CPL Chris ‘Charlie’ Brown, SSGT Simon ‘Andy’ Capp, remainder unidentified. .5) & .6) - Photo, colour, 1990. L to R: SPR Andrew Arman, unidentified, SPR Greg Howell, SPR Michelle Withers, remainder unidentified. .7) - Photo, colour, 1990. L to R: CPL Lance Strudwick, unidentified, CPL Penny Knott, remainder unidentified. .8) - Photo, colour, 1990. L to R: WO2 Rob Bogumil, CPL Lance Strudwick, remainder unidentified. .9) - Photo, colour, 1990. L to R: SSGT Peter Imeson, Peter Swandale, Rob Jones, Ken Labouchardiere, remainder of rank unidentified, W02 Rob Bogumil on right. .10) - Photo, colour, 1990. L to R: WO2 Rowan Gillies, SGT Wolfgang Thun, WO1 Colin Cuskelly, remainder unidentified. .11) - Photo, colour, L to R: CO LTCOL Rene van den Tol, RSM WO1 Neville Stone, WO1 Colin Cuskelly, WO2 Rowan Gillies, SPR Brian Paul.No personnel are identified.royal australian survey corps, army svy regt, rasvy, army survey regiment, fortuna, asr

Joyce Hayward was awarded the British Empire Medal in 1981 for services to the arts in Warrnambool. The British Empire Medal was instituted in 1917 as part of the Order of the British Empire and in 1922 became a separate award known as the British Empire Medal. Joyce Hayward came with her husband Cyril to Warrnambool from England in 1955. For 30 years they were the dominant figures in the performing arts organizations in Warrnambool. Joyce Hayward was the Director of the Warrnambool Theatre Company from 1955 to 1985 and directed more than 80 plays and musicals. She founded the Warrnambool Calisthenics Club, helped develop the Holiday Actors organization and was a key figure in the revival of the Warrnambool Arts Council in the 1970s. She was a Life Member of the Warrnambool Theatre Company. She also helped establish the Performing Arts Centre in Warrnambool. She received the Warrnambool City Council Citizenship Award in 1970.It is a significant honour to be awarded a British Empire Medal and the acquisition by the Warrnambool and District Historical Society of the medal awarded to Joyce Hayward is of considerable importance. It is a rare item.This is a silver medal with a bar attached and clip at the back for the wearer and a red corded ribbon in a bow form on the silver attachment at the top. There is also a separate piece of red ribbon. The medal box is red leather material and lined with cream silk and velvet. Side one: E11R, Instituted by King George V., 4 armorial images, crown Side Two: For God and the Empire, For Meritorious Service, image (possibly Britannia) and a sun british empire medal, joyce hayward

The establishment of Kiewa Valley House, was a significant victory for residents and senior citizens in the Kiewa Valley district. Plans were laid in the mid 1970’s and a proposal was formulated for a 12 bed unit nursing home to be attached to the Tawonga District General Hospital. The need for an aged care facility in Mount Beauty was prompted by recognition of the high ratio of senior citizens residing in the area. At the time residents had to travel to Beechworth, Wangaratta or Wodonga for care. On June 6th, 1980, an appeal to finance a 12 bed nursing wing was launched at a public meeting in Mount Beauty The Hospital and Charities Commission’s development board finally approved the application for government funds to build the 12 bed nursing home in early 1981. The official opening of the nursing home was on March 6th, 1985. Opening of the lounge extensions occurred in May, 1993 Many local residents have taken advantage of facilities at Kiewa Valley House when they became unable to manage independently in their own homes. This has meant they did not have to face the stress of leaving the area and being separated from their local family and friends. Many SEC workers and their families have been residents of Kiewa Valley House over the years.Set of 6 colour photographs of Kiewa Valley House and original Tawonga District General Hospital in Mt Beauty 1 Kiewa Valley House, before extensions, with old weatherboard hospital in background 2 & 3 Official opening of Kiewa Valley House. 4 & 5 Gardens between Kiewa Valley House and Hospital 5. Kiewa Valley lounge extension 1. The original Kiewa Valley House, before extensions 2. No markings 3. No markings 4. View of the gardens between the weatherboard hospital and Kiewa Valley House 5. Walkway between Hospital & Kiewa Valley House 6. Kiewa Valley House Lounge Room extension tawonga district hospital, kiewa valley house, mt beauty district hospital

Commercial artist, Keith Edwin Rash (1910-1985), studied at the Ballarat Technical Art School between 1923 and 1929. These artefacts are from his professional practice. Sign writing and ticket-writing bridged art and trade, with hand lettering applied to long-term signage and short-term promotional materials. At the Ballarat Technical Art School, sign writing, ticket writing, and house decoration were overseen by Thomas Raisbeck (1884-1970) from 1915. Classes were then successively taught by former students William Kenneth (Ken) Moss (1889-1921) from 1920 until his untimely death, Albert E. Williams (1899-1986) until 1928, followed by experienced, practising sign writer, Charles Emrys (Angus) Henderson (1899-1976), who had trained under Raisbeck. A number of brushes and sponges used by Ballarat sign writer, Keith Rash, who studied sign writing at the Ballarat School of Mines. signwriting, keith rash, ballarat school of mines, brushes, ballarat technical art school, sign writing, ticket writing

William Box was born in 1834 in Withyham , Sussex England and married Elizabeth Avis 13th November 1854 at Tunbridge Wells, Kent England. Elizabeth Avis was the daughter of Thomas and Eleanor aka Ellen Avis nee Robinson . In 1855 they sailed to Australia aboard the SS Omega. At first they rented a block of land on Jasper Road East Brighton ( now McKinnon / Ormond). that was part of the Henry Dendy Special Survey 1841. An early settlers’ hut on the site became their home and they farmed the land and were soon able to purchase the block. They raised 13 children and the Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond.. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . The William Box and Elizabeth Avis Box raised 13 children and lived in the early settler cottage and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of Elizabeth Avis Box who married William Box 1854 ALBUM "Australian Coat of Arms" PORTRAITbox george, box mary, box william, box elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis,

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

This quilt came to the Running Stitch Group from a visitor at the 'SIO Great Exhibition of Victoria' held at the Museum of Victoria in 1985. This exhibition of historical ephemera about our state included many of the quilts collected by the group. After seeing the value of these utilitarian quilts, many visitors decided to donate their family quilts to the Running Stitch Group. Meg McNab was one such person who identified her step-grandmother as the maker and said the quilt was used in her fathers' family. It eventually came back into her family through her own mother who came to stay in later years. For the journey, the quilt had been used as packing material. Owing to its size, this quilt may have been made for a child. The stained pattern on the back has occurred as a result of rust marks from a wire wove mattress base.This is the front of the quilt. The rod pocket has been applied to the verso. This is the back of the quilt. the rod pocket has been applied to this side.quilting history, running stitch group, running stitch collection, mcnab, meg, quilting - history

The book of signatures was retrieved from a time capsule behind the Box Hill Town Hall's foundation stone by the Mayor of Box Hill, Cr. R. G. Friday during a 'Back to Box Hill' held on April 13th and 14th, 1985. Celebrations were held to commemorate the 50th anniversary of the official opening of the Box Hill Town Hall on April 15th, 1935. Pupils at the following schools in 1934 signed up: Box Hill Girl's Technical School, Box Hill Primary School, Salvation Army Boys' Home, Box Hill Grammar School, Ormiston, Horton Girls' Grammar School, Convent Notre Dame de Sion, St Francis Xavier, Mont Albert Central School, Box Hill South Primary 4138, Burwood Primary School 461 and Box Hill High School.This book contains a list of signatures of school children attending schools in the Box Hill district in 1934.school children, school rolls, box hill, 1934, school registers, time capsule, box hill town hall, back to box hill, (cr) (mr) r g friday, box hill district schools, box hill girl's technical school, box hill primary school, salvation army boys' home, box hill grammar school, ormiston, horton girls' grammar school, convent notre dame de sion, st francis xavier, mont albert central school, box hill south primary 4138, burwood primary 461, box hill high school

non-fictionA booklet describing the history of the Hume Dam in question-and-answer format, illustrated by photographs from the Albury City Collection and other sources. This booklet was produced to accompany the exhibition "Turning the sod: building the Hume Dam", on display at Lavington Library from 21 December 2019 -1 March 2020." hume dam, dams -- new south wales, hume dam history, dams -- new south wales -- design and construction

Four items about the Elsternwick Club: 1/ An undated black and white photograph (90mm x 140mm) of the exterior of the Elsternwick Club Building at Sandham Street. 2/ Two identical postcards advertising the opening of the Tabaret at the Elsternwick Club in 1996, with four historic photographs of the club included on the front. The back advertises the opening hours, price of alcohol and gaming machines. 3/ An original colour site plan (300mm x 290mm) on tracing paper in ink of the Club’s premises, prepared by Thomas Watts and Son Architects 77 Swanston Street with a colour photocopy of this same plan. 4/ Photocopy of page 15 from the 1985 second edition of the City of Caulfield's "caulfield's building heritage" directory and information guide which provides basic information about the Elsternwick Club building and includes an illustration (115mm x 85mm) of the exterior of the Club.For item 1 inscription: Elsternwick Club Sandham Stst georges road, elsternwick, elsternwick club, thomas watts and son, sandham street, site plans

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the Army Survey Regiment in 1970. 1980 was the third time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Bob Skitch, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Paul Tomkinson and military dignitaries. The parade concluded after formal inspections of the troops. The Regiment also exercised its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995.These black and white photographs of the Army Survey Regiment were taken on the occasion of the Freedom of Entry parade to the City of Bendigo in 1980. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) Photo, black & white, L to R: MAJ Don Swiney, LTCOL Bob Skitch, WO1 Aub Harvey, unidentified, photographer in foreground – SGT Garran Hill .2) Photo, colour, black & white, L to R: MAJ Don Swiney, LTCOL Bob Skitch, WO1 Aub Harvey, unidentified .3) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, LTCOL Bob Skitch, unidentified .4) Photo, black & white: 3rd MD Band .5) Photo, colour, L to R: MAJ Don Swiney, WO1 Aub Harvey, LTCOL Bob Skitch, unidentified .6) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, unidentified, LTCOL Bob Skitch .7) Photo, black & white, L to R: SGT Stu Thaxter, LT Neil Taylor, CAPT Bob Roche .8) Photo, black & white, L to R: SPR Per Andersen – right marker .9) Photo, black & white, L to R: MAJ Peter Eddy .10) Photo, black & white, L to R: CPL Frank Lenane, CPL Flash Anderson, SGT Rhys De Laine, SPR Per Andersen .11) Photo, black & white, L to R: Mayor Paul Tomkinson .12) Photo, black & white, L to R: MAJ Don Swiney, WO1 Aub Harvey, unidentified, LTCOL Bob Skitch .13) Photo, black & white, L to R: unidentified personnel .14) Photo, black & white, L to R: unidentified personnel .15) Photo, black & white, L to R: unidentified personnel .16) Photo, black & white, L to R: unidentified personnel .18) Photo, black & white, L to R: CAPT Paddy Strunks, Mayor Paul Tomkinson, LTCOL Bob Skitch .19) Photo, black & white, L to R: Mayor Paul Tomkinson, CPL Bill Jones, CPL Gary Drummond, WO2 Tom Pattison .20) Photo, black & white, L to R: CAPT Paddy Strunks, WO1 Aub Harvey, Mayor Paul Tomkinson, SGT Rick Warren, CPL Andy Wilson …, WO2 Ted Burgess .21) Photo, black & white, L to R: LTCOL Bob Skitch, SPR Roy Hicks, Trevor Osborne, SPR Paul Baker, CAPT Stan Vote, CPL Bill Jones, Greg Francis-Wright .22) Photo, black & white, Air Survey Squadron inspection. Rear rank: SSGT Russell ‘Rusty’ Williams. Centre rank L to R: CPL Peter Treble, SGT Jim Beard, SPR Peter Hardy, SPR Steve Hilton, SPR John Lane, CPL Mick Hogan, Mayor – Councillor Paul Tomkinson. .23) Photo, black & white, L to R: Mayor Paul Tomkinson, CPL Marrianne (Van De Zee) De Groot, SPR Cathy Regan, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore .24) Photo, black & white, L to R: Mayor Paul Tomkinson, SPR Cathy Regan, SPR Ginny Turner, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore, WO2 Pat Lumsden .25) Photo, black & white, L to R: LTCOL Bob Skitch, Mayor Paul Tomkinson, SPR Ilen Isaac, SPR Penny Knott, SPR Santina Argetto, SPR Gina Coore, WO2 Pat Lumsdenroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

These playing cards were produced for the Warrnambool Woollen Mill in the 1940s for promotional purposes and were probably given to members of a bridal party when one member had bought a Warrnambool blanket (specifically the Warma-Wool Blanket) as a trousseau item or as a gift for the bridal couple. The cards were in the possession of Mr C.F. Kelly of Dwarroon, Cudgee (near Warrnambool) in 1985 and he has taken them to show the manager of the Warrnambool Mill as they were already items of historical interest, being about 40 years old at that time. The letter from the Warrnambool Mill administration office attests to this. The envelope shows that the cards were returned to Mr Kelly by post. The Warrnambool Woollen Mill was established in South Warrnambool in 1910 and closed in the year 2000. It was one of the most important and well-known industries in Warrnambool in the 20th century. These items are of interest as mementoes of the Warrnambool Woollen Mill, a key 20th century industry in Warrnambool that was known Australia-wideThis is a pack of playing cards having the usual playing cards printed numbers and emblems on one side and a colour illustration of a bride and two bridesmaids admiring a blanket on the other side. This side also has printed material. The cards are partly enclosed in a piece of cellophane and the pack is in a rectangular envelope with a stamp and a typed address on the outside. The envelope is open and partly torn at one end. The letter in the envelope has a letterhead and typed material.Envelope: Mr C.F. Kelly R.S.D. 4330 D.Warroen (sic) Cudgee Vic. 3265 Cards: Warrnambool Warma-Wool Blankets warrnambool blankets, warrnambool woollen mill, dwarroon estate cudgee

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the Army Survey Regiment in 1970. 1977 was the second time the unit exercised its freedom of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. Led by the Regiment’s CO – LTCOL Bob Skitch, the unit marched down View St in the CBD, along Pall Mall and up Gaol Rd to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, the Mayor of Bendigo and military dignitaries. The parade concluded after formal inspections of the troops. The Regiment also exercised its Freedom of Entry with anniversary parades in 1980, 1985, 1990 and 1995.This photograph of the Army Survey Regiment was taken on the occasion of the Freedom of Entry to the City of Bendigo March in 1977. The photo was printed on photographic paper and scanned at 200 dpi. It is part of the Army Survey Regiment’s Collection. .1 - Photo, black & white, 1977. Female Contingent salutes on the march past the dais. Right file L to R: PTE Chris Meharg, CPL Di Chalmers, LCPL Lynn Johnson, PTE Debbie Brown, PTE Le-anne (Smallshaw) Shirley, PTE Janet (Chopping) Justin, PTE Deirdre Moorrees, CPL Sue (Lang) Spath, WO1 Marj Knight, LT Dianne (Norling) Harris CSC. Centre and left file L to R: SSGT Pat Lumsden - obscured, PTE Karen (Carmichael) Gloster, PTE Kerry (Brown) Collins- obscured, PTE Terry Martin, PTE Laurel (Ryant) Staley – obscured, PTE Tracey (Beckwith) Phillips, PTE Marrianne (Van De Zee) De Groot- obscured. Personnel are named on a digital copy of this photo.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna

Square wooden honour board with gold text, cut corners and a protrusion at the top with a simplified WHS logo and heading.JUNIOR HOUSE CAPTAINS YEAR OVENS KING MERRIWA WAREENA GIRLS BOYS GIRLS BOYS GIRLS BOYS GIRLS BOYS Jnr 1985 L. REID J. DOWLING M. FLYNN B. MARTIN J. FISHER J. BOULTON R. WARREN D. BARHAM Jnr 1986 K. DODSON C. LEWIS A. PLUMRIDGE J. HODSON J. FISHER J. ARCRI R. WARREN D. McDONALD Jnr 1987 S. SCHOLZ C. DERRICK T HEMPEL B. DERRICK M. WILLIAMSON M. DOBROWOLSKI J. BECHAZ S. CLAYTON Jnr 1988 K. McCORMACK A. CLARK M. IMRIE M. GREGORY J. O'FLYNN S. NORMAN M. HERTIC C. GOULD Jnr 1989 K. SOUTHERN L. SCHOLES D. McLAUGHLIN M. MOSCROP A. GREALY O. ROODENBURG H. NOLAN D. ILOTT Jnr 1990 J. SHERIDAN C. CLARK C. NORTON B. MORRIS G. WOODWARD D. PRESTON D. FRASCA A. ROSSER Jnr 1991 K. WELCH D. DEMAJ J. STEPHENS B. MORRIS K. JENKINSON P. FLYNN N. WILLIAMS A. ROSSER Jnr 1992 K. WELCH R. GRAHAM K. GLENISTER A. WISE L. REA D. FURNELL D. BIGGER R. JOHNSON Jnr 1993 R. STEFANIAC T. LEWIS C. HORN A. BARROW R. BARROW M. STAMP A. NOLAN A. WHOLERS Jnr 1994 B. SPASOJEVIC R. ROSSER M. CHILCOTT H. FULTON J. HARRISON S. HIBBERSON L. HILDEBRAND R. WOODWARD Jnr 1995 D. SMITHERAM D. FURSE M. CHILCOTT J. McCORMICK J. HARRISON D. CONSTANTINO S. KNOX A. BROWN Jnr 1996 D. SMITHERAM J. MULLINS K. DOUSSET J. FISHER K. GRAHAM S. CHALLMAN K. BREW D. OATES Jnr 1997 R. CONROY H. STAMP N. EVERITT M. BELL R. HOGARTH D. BREESE C. JONES J. DOODY Jnr 1998 J. MORONEY R. GLOVER L. RITCHENS T. LAMBERT E. BRIGGS J. PORTER M. DEFAZIO J. KIKER Jnr 1999 T. WINZER R. GLOVER K. GOODEY B. SOLIMO A. COOTE D. COOTE D. COLES J. USSHER K. KIKER Jnr 2000 A. POTTER S. GANNON K. WHEELER C. FURZE K. WHITE C. WHITE H. OLIVER A. SHELDRICK Jnr 2000 R. GILBERT R.GOLVER K. GOODEY B. SOLIMO G. JONES D. COLES A. NAISH C. DOUG Inter 2001 K. O'BRIEN S. GANNON K. WILLIAMS M. CONROY V. STEWART J. AMMITZBOLL H. OLIVER C. MANGUBAT Jnr 2002 J. BORDIGNON T. SORRAGHAN N. TAVARE M. ANDERSON B. KERLIN D. GAUT K. SURACE M. GLOVER Inter 2002 A. POTTER S. GANNON S. DAWS T. CHIVERS M. WATKINS D. MORGAN H. OLIVER J. PATRICK Jnr 2003 S. PENNY N. PORTER E. NEWMAN A. ROBERTSON S. McSWINEY B. REVELL K. SURACE B. McMILLAN Inter 2003 R. CLARKSON D. McCULLOUGH S. ANDERSON M. CONROY G. ATKINSON T. CROCKETT H. OLIVER D. SEYMOUR Jnr 2004 C. WESLEY R. STONE E. PANE J. DWYER G. BLANCH M. GATHERCOLE C. BODLER R. LUGG Inter 2004 A. VELJANOSKA D. McCULLOUGH N. TAVARE D. BAKKER E. HARRINGTON J. AMMITZBOLL M. BASSIER M. GLOVER Jnr 2005 E. KEIR J. PARTINGTON A. WESCOMBE J. SIRIANNI A. MARTIN R. ALLEN J. SCHULZ-BAHLEBURS D. SCOTT Inter 2005 J. ROBBINS T. STAFFORD E. PANE J. DWYER K. GRAHAM M. GATHERCOLE K. SURACE M. MACLEISH Jnr 2006 M. BRUCE S. ALDOUS H, PANE L. BRABAZON C. TYLER J. ANDERSON O. HUTCHINGSON B. MORTIMER Inter 2006 L. TINDILL J. DAVENPORT E. PANE D. MORGAN A. FULLER M. GATHERCOLE S. COOTE S. CARUSO DONATED BY P.A.S.T.A. 1988

Red covered auction catalogue with black printing for a sale at C.R.A. Research Unit, Eastville, Vic on 27th March 1985. For sale was Pump Setting Rig skid mounted with 12,000 lbs. Thomas Winch with 5.5 K.W. 415 V. 3 HP Electric Motor & 100m of Cable, 1981 W.B. Holden 1 Tonne Utility, Massey Ferguson 290 Tractor, 75 KVA McFarlane Generator with 6 Cyl. Diesel Motor on Tandem Trailer, Alum. Site Workshop, Steel Ships Container, 2 Uniroyal Static Storage Tanks each 50,000 gallons (U.S.), 13 Groundfos Electric S.S. Submersible Pumps, Portacom Toilet, Thousands of Metres H.D. Electrical Cable, Air Hose, Steel Flanged, Drill & P.V.C. Piping, Assorted Tools, Electrical and General Equipment. J. H. Curnow & Son Pty. Ltd. Were the auctioneers.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - c.r.a. research unit - eastville vic, j h curnow & son pty ltd, f c dyett, i m dyett, n f dyett, bolton bros pty ltd print

A double deck horse drawn tram with single saloon. drop ends, stairs, longitudinal seats, sliding doors, wheels of cast iron, hand brakes - see notes. Originally built by Duncan & Fraser in 1887. Rebuilt by BTPS 1991. From the BTM Fleet page on the website: Built in 1887 by Duncan and Fraser for the Ballaarat Tramway Company Ltd. as a double-decked horse tramcar. One of eight cars which ran as trailers behind electric trams at times of heavy patronage, after takeover and conversion of the horse lines by the Electric Supply Company of Victoria Ltd. in 1905. Withdrawn in the late 1920's when the body shell became a residential outbuilding locally, until retrieved in 1985. Fully reconstructed to its original form and placed on a modified Melbourne saloon cable car truck. See attached notestrams, horse trams, tram 1

Set of four colour prints of trams in Flinders St taken from the Princes Bridge station building deck - 14-5-1985, by an unknown photographer. All printed on Fujicolor Paper with rounded edges. .1 - W2 517 on route 8 northbound in Swanston St with Flinders St station entrance in background. Has a Winfield cigarette advertisement on the side. .2 - W2 453 on route 8, southbound about to cross Princes Bridge with the Anniversary Arch 1984-85 in the background. .3 - W2 605 and W6 994 northbound in Swanston St, with the Flinders St Station concourse buildings in the background. Has a "new black & white 30's" cigarette, Invicta and King Gee work trousers advertisements. .4 - W5 831, south bound on route 72 at the station stop. Has a Reflex copying paper advert on the side panel..3 has in ink on the rear - "W6 994, W2 605 W5 ? Princes Bridge 14.5.85"trams, tramways, flinders st station, princes bridge, swanston st, tram 517, tram 453, tram 994, tram 605, tram 831