Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. The doll, named Karl by Else-Lore, was hand-carved by internee Alfons Koenig. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen. Body, head, arms and legs carved from wood. Blue eyes, yellow hair, pink lips and skin all hand painted. Wearing a grey crochet hat with orange feather and grey crochet jacket with two metal buttons. Jacket and hat have green trim. Grey felt shorts with leather braces and green trim. White shirt and tan color tie. White socks and brown leather sandals.doll, alfons koenig, camp 3, internee, oertel family, else oertel, friedel dehnel, else-lore hukins, dressmaker, costumes, plays, chef

made and used by internees at camp 3Light brown wooden block squares that have holes in each in middle for holding candles.on the back "K. K. Frank"candle stick holder, camp 3 wood work

Written to accurately record the history of Toolamba. From early days of Hume and Hovell, agriculture, schools, churches, sport and recreation. Names on Roll of Teachers and Pupils.Brown hard cover. Title in gold writing. Cream dust jacket, green writing. Sketch of gum leaves surrounding a scene of bush log hut. Family with man cutting trees. From a wood carving by Nicholas Bartels. 2nd copy. L3458.toolamba

Camp 3 was one of the Tatura Group of civilian & prisoner of war internment camps during World War 2. Camp 3 was a civilian 'family' camp. The abacus was made by a German internee, for his son in the camp. It was made from scrap materials found in and around the camp & the beads & other wooden parts of the abacus were turned on a lathe also constructed by the internees. Wood & metal abacus with wooden base, sides & beads (100), & metal rails. Wood painted red & black. camp 3, tatura, internment camps, civilian internees

Toolamba district history, including local families, school rolls, churchs' history 1840-1983Dust jacket, cream, included copy of bush scene, wood carving by the late nicholas Bartels. Brown card cover, gold lettering.toolamba, heart of the valley, morvell s, crawford a, tatura, agriculture, goulburn river, books, history, local

Wooden with cast iron gearing components and round butter worker is hand operated. The rotary butter worker has a round tray carved from wood. Protruding upwards from the centre of the tray is a column with arched top. The column has a small square outlet on one side near the base that provides for excess buttermilk to be drained away. Around the circumference of the butter worker protruding outwards from the sides is a thick cast-iron track. The wooden paddle has a unique curved shape that has a wave appearance. It has a slight arch which forces the butter to remain in the tray and to direct any excess buttermilk to the centre. Through the wooden paddle is an iron rod connected to a crank handle. By turning the handle the rod rotates a gear system that leads the table to rotate on the metal track.Side: CHERRY'S PATENT NO. 1 GISBORNE VICTORIA 4407 Etched into upper arm of wooden frame.cherry's patent, bubb family, evans family

Butter churn, wooden, hand operated with wood and metal turning handle. It has a detatchable wooden lid. Called the bentwood box churn. Outside is an x shaped wooden rack which is joined to an exterior metal hand crank through a hole in the box.Side: E. Cherry & Sons, Gisbornebubb family, evans family, butter churn, bentwood box churn

Started in 1936, the aim of the Pilots was to capture the imagination and the devotion of children for the service of the Kingdom of God and to begin the training for membership of the world wide church of Jesus Christ. Pilots was mainly a week-night activity to supplement the training which boys and girls are given on Sundays, either through Family Church courses or approved Sunday School guides. Many churches were already using the lesson courses prepared by the Youth and Education Department of the Congregational Union for the Family Church. A Pilot company consisting of six or more boys meet regularly under the leadership of a Captain. The Pilot's promise was "I will learn, pray and serve all I can in the world-wide church of Jesus Christ". [from "Compass : for Pilot Captains" book 1947]BN057 and BN004: Rectangular blue and green screen printed cream linen flag with cord and wood toggle at one sidePILOTScongregational church, pilots - congregational church, flags, congregational union, london missionary society

This painting was purchased at an exhibition at Australian Galleries in 1968. It originally hung in Robin Boyd's office in East Melbourne, and was only brought to Walsh St after he died in 1971. The Australian Galleries was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. Two figures (one seemingly with three hands) partially hidden by an artist's easel.Woods '68 in lower right cornertony woods, purves, australian galleries, robin boyd, walsh st artwork, ohm2022, ohm2022_7

The painting was purchased at an exhibition at Australian Galleries. This Melbourne institution was established by Tam and Anne Purves in June 1956. Robin Boyd designed the Purves family home in Kew in 1967. After hanging this artwork in the living room, Robin Boyd arranged to have the three-seater sofa in this room reupholstered in red (previously yellow) to match the Wood's painting. Tony Woods won a Harkness Scholarship in 1968 and travelled to the USA - he abandoned figuration after leaving Australia. Another figurative painting by Tony Woods, titled "In the Studio Psychologically Challenged", also hangs in Walsh Street.Man with closed eyes, with various arm positions, on a red sofa.The reverse is inscribed with Australian Galleries and the title and Woods '67.tony woods, australian galleries, purves, robin boyd, walsh st artwork, ohm2022, ohm2022_19

A directory of oral history collections, collected in a state by state order.directory listingsgenealogy, oral history, family history, local history

Portrait - 3 Girls Wood. Youngest later Jean Hughesstawell

Brass Beam Balance in Wood and Glass Case used for Weighing Gold used by Shuttleworth Family who worked a Cyanide Plant at Deep Leadstawell

Book: "Where The Twain Meet" by Mary Gaunt, 1922, publisher John Murray Albermarle Street, W.1, LondonThe book "Where the Twain Meet" is written by Mary Gaunt, a member of the prominent Gaunt Family who were active in the Indigo Shire during the nineteenth century. Her writing depicts in great detail the social structure and the ongoing changes that faced the people of Jamaica before and after British colonial rule. It is a historic perspective of Jamaica's reckoning with the slave trade. A hardcover book bound in navy blue fabric with gilt embosses titles and decals. Image one: WHERE/ THE TWAIN/ MEET/ _ MARY GAUNT/ JOHN MURRAY Image three: Sister Bessie Smythe/ Dear Bushwanderer/ With love from/ aunt Prue/ Gb. Wood/ Jan. 16 1923/ Image four: (embossed) WITH Mr MURRAY'S COMPLIMENTS/ WHERE THE TWAIN MEET/ BY MARY GAUNT/ Author of "Alone in West Africa,""A Woman in China,"/ "A Broken Journey,""The Uncounted Cost," etc./ LONDON/ JOHN MURRAY, ALBEMARLE STREET, W.1/ 1922/mary eliza gaunt

GIFT OF PAYNE FAMILYWOOD FRAME PAINTED WHITE, OIL PAINTED LANDSCAPE OF CLUNESlocal history, illustration, oil, paintings, drawings

7126-1: Lelie Bennett, Mayoress Anne gardiner. 7126-1A: Betty rouch, Jen Coote. 7126-1B: John & Mrs Grey. 7126-1C: Sandra Horne, Jeane Skurrie. 7126-1D: June Radford, Jeanne Skurrie. 7126-1E: Shane Wegener, COral Eagles, Tracy Wegener, 7126-1F: Rae Smith,. 7126-1G: Sandra Horne & Daughter, Jen Radford (Back). 7126-1H: Shane wegener, Gail Wood (Libraian) 7126-1I: Don Gardiner, Elenor Musumeci. 7126-1J Beryle Cox, Rae Smith looking at the Slorach Family Tree. 7126-1K: Beryl Cox, Doug Hately (President), Rae Smith.43 Colour Photographs. Showing various peole at the 10 year celebrations.biarri

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

Huttley FamilyB/W. Group in front of rockfaceTed? Freeman? R.I.E. Please show this Rita? Wood C.E.M to Cliff and Philly's 10/12/25 H.E.Ahuttley

The geometric pattern mimic Ukrainian embroidery design,using straw marquetry technique (which is similar to that of wood marquetry). The wheat straw was soaked in different pigments to achieve the required shades,dried,split and ironed flat. Then cut into various sizes and shapes to create this pattern. The pieces where then glued onto a backing board.The backing board was then glued on the back of the photo album. This album was received as a birthday gift in early1960's.This form of straw art is very rarely seen today.Book is black.Back page is coloured straw design. photographsphoto, book, straw, ukrainian design, 1960, family dutka

Huttley - MartinB/W: Landscape: Steel roof, 2 chimneys, weatherboard. Fence wood uprights, wire - wooden pailing gate. Garden front to back"Burnside" Stawell West Family Homehuttley, martin

Huttley - Martin FamilyB/W Group portrait 2 rows of females 'white Blouses, dark skirts & stockings/tights' dark lace up shoes. Centre gril with plait holding hockey stick. right end girl with tieDrury's Elite Studio Stawell Back: Kath Healy, Vera Shaw?, Jean Ransom, Jouen? Davidson, Jean Bryant, lilla S..wood? front: Lena Byron, Rachel Lindsay, Madge Huttley, agnes Gcragg, Ruby Abbott.huttley, martin, students, sport, education

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Wood and metal stampBlanketsblankets, blanket fever, stamp

This fan belonged to Julia Charlotte Sargood (Charlie), youngest daughter of Sir Frederick Sargood and only child of Lady Julia Sargood.Black carved wood fan with black net. Three flowers with leaves are embroidered in black thread and small black sequins. Carving on black wooden frame is a floral design. One black metal ring joins the fan at its base.rippon lea, sargood family, sargood, charlotte

Community activist. Born 3.4.1946- died 12.9.1997. Involved in employment, youth education, government and the arts. Born in Wales, family moved to Mitcham early 1950's. Economics degree. Taught at Foster, created farming commune in NSW, started Mallacoota Easter Festival 1981. Known for school and community workshops with music & drama. Later became Co=orninator at Mallacoota TAFE Outreach Centre.Community activist. Born 3.4.1946- died 12.9.1997. Involved in employment, youth education, government and the arts. byers, jill, thornycroft, bob, ingram, john wood, mallacoota tafe outreach centre, paul wood, anna wood, paddy wood, rory, phoebe & briony

Used for reference by the Terrill familyColoured brochure and colour card for Sapolin varnish stains, printed, on cartridge-type paper, both sides and folded in three.varnish, wood finishing, advertising

Critical significance as a unique example of home made "making do" and the innovative approach of Day family.CONVERTED FROM SETTEE POSSIBLY A MINERS COUCH - Sides enclosed with wire. Hinged lid with chicken wire. One end is a wooden box with hinged lid. A hole connects the box to the rest of this coup. The box has turned wood arm rests.

Tommy Bartel Champion AxmanBlack and white photograph of sportsman with championship ribbon around neck and an axe in his handOn back of photo: Stylised image of a camera with "FM 1764 | FM 1766" above - "By Ern McQuillan, 396 New South Head Road, Double Bay" below - "A Photographic Illustrators Photograph" to the right - with numbers "4/4526/59" hand written in red ink.tommy bartel, wood chopping, sports, champions, tommy bartel was married to freda ward bartel. they both were born in beechworth victoria. tommy and his family were known for their wood chopping prowess both as workers and competitive axemen. tommy’s wife freda and his descendants reside in rutherglen., freda bartel, freda ward

Colour photograph of a painting of a timber buildingWritten on back of photo: "Painted by O.J. Wood 1980 from original photo. Typed on back of photo: "Maddens Wine Hall, & Great Southern Post Office, & Coach Depot Circa 1910. | Located at Map-Ref' 536-074 | (Photo of painting of Mrs O.J. Wood, nee Olcorn)wood family, olcorn family, madden wine hall, great southern post office, coach depot