Showing 3206 items
matching 1948
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Stawell Historical Society Inc
Document - Photo Map, 1948
Photo Map. Stawell D2, Zone 6.stawell -
Stawell Historical Society Inc
Document - Photo Map, 1948
Photo Map. Stawell D3, Zone 6.stawell -
Beechworth Honey Archive
Publication, Australian Made Honey Extractors and Pumps, January 1948
Soft Cover A5, tan colour with black writing on front, blue back cover 22 pages -
Brighton Historical Society
Jacket, Bolero, c.1948
This bolero is part of a Greek national costume from the Peloponnese. Long-time Brighton resident Olga Black wore it to the 1956 Melbourne Olympic Games to represent her Greek heritage. She remembers the stands at the MCG being full of migrants wearing their traditional national costumes. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Red velvet bolero decrated with gold stitching and braid. Lined with red satin. Stand collar which fastens with two metal hooks and eyes. bolero, jacket, greece, ithaca, migration, olympic games, 1956 olympic games, olga black -
National Wool Museum
Currency - One Pound Note, John Ash, 1938 - 1948
John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash -
National Wool Museum
Currency - One Pound Note, John Ash, 1938 - 1948
John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash -
University of Melbourne, Burnley Campus Archives
Plan - Coloured plan, Thomas H. Kneen, School of Horticulture - Burnley, 1948-1949
Colour-coded to show existing and proposed buildings, numbered and lettered to indicate use of buildings Related documents: B91.476, B91.484Plan with handwritten amendments by T.H. Kneen on 24.10.1949. Extensive explanation of existing and proposed structures at the College. Plan A: area bounded by Swan St., Yarra Boulevard, reserves for grazing, orchard and vegetable gardens along southern boundary. Amended 24/10/49 T.H. Kneent.h. kneen, burnley gardens, burnley school of horticulture, farm buildings -
University of Melbourne, Burnley Campus Archives
Plan, Burnley Layout: Security Fencing, 1948-1949
Copy of plan by L.H.B. of proposed new buildings, extensions and other works. Exisiting permanent buildings and those due for demolition. Second plan with sketch over showing proposed area for plant breeding, pasture, nursery, new fencing. Indication of building damaged by fire 19.12.1949.burnley school of horticulture, extensions, buildings, demolition, nursery -
University of Melbourne, Burnley Campus Archives
Photograph, Clement Hodgkinson, Proposed Reserve for Horticultural & Experimental Garden in the Survey Paddock, Richmond, 1862-1948
Photograph dated 7.12.48 of plan by Clement Hodgkinson, Deputy Surveyor General. Gazetted 1/8/62, handwritten on it in pencil.clement hodgkinson -
University of Melbourne, Burnley Campus Archives
Plan, Percy Everett, Layout Plan of Furniture & Fittings for School of Agriculture & Horticulture at Burnley, 1948
Plan for Lecture Rooms 394, Plant Breeders Lab. & Assistant room, Agrostrological Lab. & Office, Demonstrator's Room. By Percy Everett, Architect.laboratory, percy everett -
University of Melbourne, Burnley Campus Archives
Plan, Plan of Richmond Park, 1886-1948
(1) Black and white photographed copy of an original coloured plan. Plan of Richmond Park with Horticultural Society Gardens marked in. Includes additional land which became the Field Station. Stamp, "Neg. 18375 Department of Lands and Survey Photographed at the Central Plan Office 1/1 Plate 7.12.48". Original plan dated 19.11.86 showing land, "Permanently Preserved for the Gardens." (2) Also 2 photocopies, 1 reduced - possibly used in a publicationgardens, richmond, horticultural society of victoria -
University of Melbourne, Burnley Campus Archives
Plan - Photocopy, Proposed Reserve for Horticultural and Experimental Garden in the Survey Paddock Richmond, 1862-1948
Photocopy of Plan Gazetted 01.08.1863. From Central Plan Office Department of Natural Resources.Signed by Clement Hodgkinson, Deputy Surveyor General. Stamped Department of Lands and Survey 7.12.48 Neg.18377. Handwritten notes on it, "Melb Roll 23 R.19(A)"exprimental gardens, burnley -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924, c. 1948
Removing Monterey Cypress. "6/9/48?" THK.cypress, tree removal, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924, c. 1948
Removing Monterey Cypress."6/9/48?" THKcypress, tree removal, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924, c. 1948
Removing Monterey Cypress. "6/9/48?" THK.cypress, tree removal, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924, c. 1948
2 copies different exposures. View towards Swan Street from roof of Administration Building.swan street, roof, administration building, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924/23/14, c. 1948
2 copies different exposures. View towards Swan Street from roof of Administration Building.swan street, roof, administration building, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 924, c. 1948
Elm being removed. elm, tree removal, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/1, 30 March 1948
"30/3/48." Lagoon Paddock.lagoon paddock, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/1, 30 March 1948
"30/3/48." Lagoon Paddock.lagoon paddock, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/3, 30 March 1948
"30/3/48." Lagoon Paddock.lagoon paddock, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/3, 30 March 1948
"30/3/48." Yarra Boulevard with view of ditch.yarra boulevard, ditch, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/4, 30 March 1948
"30/3/48." Plant Research Laboratoryplant research laboratory, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/5, 30 March 1948
"30/3/48." Yarra Boulevard with view of ditch.yarra boulevard, ditch, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/5, 30 March 1948
"30/3/48." Road to Plant Research laboratory from Swan Street.road, plant research laboratory, swan street, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/7, 30 March 1948
"30/3/48." Road to Plant Research Laboratory from Swan Street.road, plant research laboratory, swan street, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/8, 30 March 1948
"30/3/48." Plant Research Laboratoryplant research laboratory, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/8, 30 March 1948
"30/3/48." Construction of Administration Buildingconstruction, administration building, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/10, 30 March 1948
"30/3/48." Treetrees, e. m. gibson collection -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, 946/10, 30 March 1948
"30/3/48." Construction of Administration Buildingconstruction, administration building, e. m. gibson collection