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National Wool Museum
Archive - Wool sample card, Onkaparinga Woollen Mill Company, 1950s
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." Salesman's Wool sample card containing samples of wool at different stages of processingJohn Taylor/With Compliments from Onkaparinga/Woollen Co.Ltd/Adelaide, Sth Aust. Mills Lobethal and Thebarton, S.A/Always insist on Onkaparinga Rugs.Blankets.Worsteds.Melanges.Woollens and Flannelswool, blanket fever, advertisement, onkaparinga, sample -
National Wool Museum
Functional object - Yarn Spinner and Accessories, John Nesbitt, 19th Century
Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing -
Stawell Historical Society Inc
Book - Colonial Settlers, Walter John Wynd, "George Wynd & Margaret White" "Charles Trinder & Mary Halls" A Study of their linages, 2021
Convict and colonial Settlers Family Historywhite Soft cover. Black line framing title and small box around author.Rec 0340 -
RusCare Ltd. (formerly known as St John of Kronstadt Russian Welfare Society)
Award for Excellence in Multicultural Affairs, 2003
This award was presented to the Russian Welfare Society on 10 December 2003This Award is recognition of the service the Society has provided to the Victorian community.This award is a compilation of a certificate (Item no. 00006A) and a medal (Item no. 00006B). The award has a gold coloured decorative frame with a navy blue background. The medal is bronze with a small descriptive plaque beneath it. It is mounted on a blue velvet background.Certificate (00006A): "Victoria's Аward for Excellence in Multicultural Affairs - Award for Meritorious Service in the Community awarded to St John of Kronstadt Russian Welfare Society Inc" It is signed by the Hon. Steve Bracks MP, Premier of Victoria and George Lekakis, Chairman of the Victorian Multicultural Commission. Medal: "Government of Victoria Award for Excellence in Multicultural Affairs - Meritorious Service Award" Plaque: "Awarded to St John of Kronstadt Russian Welfare Society December 10, 2003"russian community, multicultural affairs, victoria -
Westbourne Grammar Heritage Collection
Textile - Chapel Altar Cloth, 1989
This altar cloth is one of a set of four of various sizes, embroidered and donated by a parent for the opening of the school's chapel. The chapel was completed in 1989 and officially dedicated 'in thanks for the work of J.R. Pascoe' in March 1990. Religious instruction has never formed part of the curriculum at Westbourne but Christian values have underpinned the school's identity since its very early days. Recognising the importance of spirituality to the broader life of a school, Principal John Pascoe set about building a small chapel at the Truganina campus. In 1988, Reverend George DuRink was appointed as inaugural chaplain, in time to advise on the chapel design, and remained at the school for more than twenty years. Reverend DuRink's friendly, inclusive approach to ministering, drawing largely on his extensive knowledge of philosophy and ethics, and welcoming the many faiths and cultures that came to the school from the growing surrounding community, set the tone for the spiritual dimension of education at Westbourne. An integral part of the fabric of the school, the chapel has been a place to gather for comfort and support during difficult times, a place for quiet reflection and at times a place for music and celebration.This altar cloth has historic significance as it is associated with the very beginning of the Westbourne chapel and was used in the chapel for many years. A rectangular piece of evenweave fabric with a fringed edge and cross stitched with a blue border around the entire piece and a yellow and green Westbourne logo facing the short edge at one end. -
Chiltern Athenaeum Trust
Painting - Oil painting on gumleaf by Alfred William Eustace, circa 1851 to 1907
This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace -
Chiltern Athenaeum Trust
Book, The Home Guard Fieldcraft Manual, April 1942
Owned by Adde Andreas Matiess John Cooper who served in WW1 and was awarded the Military Medal. He also served as a Lieutenant with the 22nd Battalion in WW2.Adde Cooper was born and lived in Chiltern and served in both WW1 & WW2. Small green fabric reinforced booklet. 173 pagesWritten by Major John Langdon-Davies. John Murray & The Pilot Presschiltern, ww1, ww2, military medal, adde andreas matiess john cooper -
Chiltern Athenaeum Trust
Booklet - Booklet of Selected Verse by A.W. Eustace published 1992, Selected Verse/ A.W. Eustace of Chiltern/1820-1907
Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape -
Chiltern Athenaeum Trust
Painting - Oil painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Chiltern Athenaeum Trust
Photograph
Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern -
Chiltern Athenaeum Trust
Photograph - Reproduction
These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Peterborough History Group
Photograph - Peterborough Hall and students
The school in Peterborough was operating out of the hall at that time. This is probably the last group of students at the Peterborough school as the Timboon Consolidated School was opened in 1948.Shows the small school and names of local students at that time. Peterborough school was incorporated into the Timboon Consolidated School.Two copies of original photographs, one of a group of school students in front of the hall, the other is a picture of the front of the hall, circa 1947Handwritten on the back are the names of the students and the date. the picture of the hall also has the name and date.peterborough, peterborough hall, peterborough school, geoff mckenzie, ron staghorn, pat barling, john barling, joan wiber, margaret barling, yvonne barling, ray lane, danny barling, jenny irvine, bill barling -
Peterborough History Group
Memorabilia - The Schomberg Cup Honour Board
The golf tournament evolved from the P'boro Power Boat Race. The tournament is still a big event on the Peterborough Golf Club calendar. The Cup records the winners of the actual boat race, including the name of the winning boat and the skipper from 1949 to 1962. The winners were: 1949 Won by Albie Affleck Skipper HT Grimwade. 1950 Won by Lady Emma Skipper DC Moore, 1951 Aunt Spee Skipper A W Moore, 1952 JB Skipper J W Bartlam, 1953. Cynic Skipper HT Grimwade, 1954 Tom Thumb Skipper CR Chirnside, 1955 Nipper Skipper PW Coy, 1956 Typhoon Skipper LG Tabart 1957 Lady Nelson skipper DC Moore, 1958 - 1959 The Sea Moore Skipper F Moore, 1960 Cutty Sark Skipper RA Chirnside, 1961 Sweep Skipper S Joyce, 1962 scum skipper WM HolbeachThis honour board is significant because it records the winners over time of the event, but also because it is a link with the original boat race, which was a major fun event over summer in the town.A shield shaped wooden plaque with a metal scroll at the top and metal engraved shield shape in the centre of the board, surrounded by numerous smaller shield shapes, each engraved with the names of the winners and the date. Also a cup with shield shaped plaques around the base to record the winners.Central plaque inscribed thus: THE SCHOMBERG CUP THE OFFICERS OF THE PPBC 1949 Admiral Desmond C. Moore, Captain Wocca Moore Chief Engineer Andy Chirnside Boson John Wiber Chief Petty Officer (Later Mutinously & illegally self appointed Tinny Grimwade Lieutenant Commander) Ships Cat Tom Austin Master at Arms I Barty (Mr. Bartlam) II Brigadier Tinsley III Mark Howard Sub Lieutenant Gitchie Calvert Jnr Boson II Moyle Breton Chief Writer Jonnie Moore peterborough, golf tournament, the schomberg cup, peterborough golf club -
Tatura Irrigation & Wartime Camps Museum
Book, The Home Guard Fieldcraft Manual
Book written by Major John Langdon-Davies for the Home Guard. Gives instructions on various subjects relating to training of the Home Guard. Text nnd black and white drawings and photographs.Small green material covered book with black writing (title, author, price and publisher) on front and spine (title).home guard, major john langdon-davies -
Tatura Irrigation & Wartime Camps Museum
Photograph, Harston School 1941, 2001
Harston School 1941. Back: Bernie Mulcahy; Bill Small; Les George; Keith George; Edna Collie; Marj Down; Marj Donaldson; Theresa Mulcahy. Middle: Graham Clapp; Gordon Cumming; Gordon Brown; Colin Newton; Walter Henderson; Edith Henderson; Lorna Donaldson; Maureen Mulcahy; Linda Hammond. Front: John Henderson; Ian Henderson; Douglas Clapp; Milton Shaw (teacher's son); Harvey Henderson; Ian Donaldson; Laurel Collie; Jenny Down (Hansford); Kathleen Mulcahy; Patricia Dick; Nancy Down.photograph, people -
University of Melbourne, Burnley Campus Archives
Document, Recent experiments in methods of cultivation, 1948-1954
Notes taken from "Science and the glasshouse, 1948" by J.C. Lawrence, John Innes Horticultural Institute (England). 2 copies of notes; small folded brochure: "Precision growing with John Innes composts"j.c. lawrence, john innes, horticultural institute, cultivation, glasshouse -
Port Fairy Historical Society Museum and Archives
Painting - painting, Watercolour, Elsbee?, The Barque Sydney Griffiths, c.1850
This painting of the barque Sydney Griffiths and two smaller ships, ‘the brothers’ and Essington’ graced the offices of Powling solicitors for 3 generations. This painting illustrates the scene of the first export of wool from Belfast to England.Depicts a significant moment in time when the first shipment of wool from the port was being loaded for London.A watercolour painting on paper and linen in a gold and Black frame showing the Barque "Sydney Griffiths" sailing before Griffith island, also shown "Essington" and "The Brothers" John Griffiths House and other buildings on shoreThe Barque "Sydney Griffiths" Capt. Cowtan leaving Port Fairy for London, February 8th 1851. "Essington" "Brothers"local history, illustrations, powlings, watercolours, exports, essington, sydney griffiths, shipping, the brothers, wool export, capt cowtan -
Port Fairy Historical Society Museum and Archives
Mixed media - Model, John Sickler Tailor and Gazette Building, early 1970`s
This model was part of a panorama of 11 pieces designed from drawings in an 1892 almanac printed by the Port Fairy Gazette. The panorama was used in the Historical rooms in Bank Street on an extended mantle piece before the museum and Archives were relocated to Gipps Street.This model was made as a part of an eleven piece panorama of the streetscape of Port Fairy in 1892. By a local resident.small hand made model of a shop front from the 1892 almanacTailoring Establishment John Sickler Gazette Officemodel, panorama, sackville street, mewkill, almanac, bank street -
Port Fairy Historical Society Museum and Archives
Photograph, Mason, John
Captain John Mason came from Stirling in Scotland, arriving at Port Fairy in 1844. One year after James Atkinson obtained his Special Survey of the area. Thus his life covers all the history of Port Fairy when it was known as Belfast. He married Jane Murray in Portland in 1846 and they had 5 children, Jane died in 1855 and ten years later he married Ann Brown widow of Abijah Brown. They had no children and she died in 1887. In due course he became known as Captain Mason, he was not a sea captain, but captain of the Belfast Volunteers, a Rifle Corps formed in 1859 as a consequence of the Crimean War, and later reconstituted as the Belfast Volunteer Corps. For 40 years he displayed a remarkable versatility in his various occupations. Starting as an Innkeeper - he took over the Stag Inn from Captain Saunders in 1852, for 3 years. He then became a carpenter, stonemason, architect, estate agent honorary technical advisor to the Borough and treasurer to the Shire, and Savings Bank Secretary. They thought so well of John mason in Belfast that they elected him to the first Roads Board in 1853 and to the first Municipal Council in 1856. He was Chairman four times and with Councillors David Talbot and Joseph Whitehead designed the Council's Common Seal and the Motto "Commune Bonum".He was the first Mayor of the Borough in 1863 for a period of 7 weeks. He was responsible for the design, supervision or construction of many of the buildings in the town; most still standing today. He built the Rosebrook Bridge in 1855 and the first official Post Office ( a timber structure in Bank Street) in 1857, replacing it with a stone office in 1865. he built the Court house in 1859 and completed the breakwater between Rabbit Island and Griffith Island started by James Atkinson and John Griffith in 1849, also the first bridge over the Moyne river which connected with Battery Lane and the Bay. Among the many buildings associated with John Mason are Gobles Mill, Tynemouth Villa, 10-12 Princes Street, the Mechanics Institute, the Commercial Hotel, Yambuk and Mickey Bourke's Pub in Koroit. However, he did not build "Riverdale" in Gipps Street as is thought. He had a store and workshop on this site but sold the property in 1872 before the house was built. After an almost uninterrupted term as Councillor starting with the Municipality in 1856, John resigned from the Council in 1873. He well deserved the illuminated address they gave to him and the toast that they drank in the Bank Hotel champagne. Within the year he was working for the Borough as its engineer., surveyor, general supervisor and advisor of public works, simply as the man to whom all difficult problems were referred and at very little expense. John Mason was a great worker for his town and devoted himself unsparingly to the community. That his work was appreciated was shown by the way in which people rallied to his aid when, in the end, he found himself in financial difficulties and his reputation was challenge; arrested for embezzling from the Savings Bank of which he was the actuary in 1882. The money was repaid and the charges found not proven at his trial. He was an early member of the Loyal Prince Albert Lodge, and a founding member of the smaller Loyal Belfast Lodge in 1863. He was also a member of the Horticultural Society. Captain John Mason Died on the 14th of October 1891 (see also 62-04-046 photo)Sepia photograph on heavy cardStevenson & McNicoll photo. 108 Elizabeth Street Melbourne copies can be obtained at anytimedefence, captain, mason, carpenter, councillor, mayor -
Port Fairy Historical Society Museum and Archives
Photograph
The small building on the left is the Farmers Inn, and was built about 1849, when James Brown became the first licensee. In 1854 John Walwyn Taylor moved from the Sally Ann to take over, and remained there until 1857, when he moved to his new hotel The Star of the West built on the old Sally Ann site. John Wall then became the new licensee of the Farmers Inn. In 1876 his wife Bridget made an application for the license to be transferred to her as “her husband suffered from rheumatism, and there were certain other reasons why the license should be transferred to her hands”. The Bench wondered about creating a precedence of granting a license to a married woman, who was living with her husband, (licenses were only granted to the widows of licensees at that time), so the application was postponed for 14 days, but eventually Mrs Wall won her case. In 1882 Patrick Tennyson took over the lease of the Farmer’s Inn and applied to change the name to Tennyson’s Hotel. In 1885 he bought the freehold in the Great Land Sale for £780. 12s. 8d., and in December, carried out extensive renovations. The local press reported that “the rooms were quite tasteful, the Billiard room commodious and well ventilated, and that the old hotel had not looked so good for years”. The double storied part of the hotel was added in 1893. Patrick Tennyson had a colourful career. He was born in Charlemont, County Armagh in 1846. When he was 21, he served as a papal guard at the Vatican for 2 years and then entered the Marist Brothers novitiate in Beauchamps. In 1872 he was one of three brothers to accompany Brother Ludovic to Sydney; he was then aged 23. After 5 years he withdrew from the Congregation and moved to Victoria, where he took up teaching, first at Rosedale near Sale, then at Crossley, by which time he was married to Anne White. They had eight children, three dying in infancy. Eight months after he took over the Farmers’ Inn, he was elected to the Borough Council, and served as Mayor in 1897. His great interest was sport, was Secretary of the Race Club for 20 years and supported the local Football Club by donating a silver cup for local competitions. Patrick Tennyson died in 1904. The hotel continued under various licensees until it burned down in 1977 under the name of “The Fishermen’s Arms”. Well known main street hotel no longer exists Sepia photograph of 2 story building with tiled wainscoting male and 2 females in doorway and 2 females in window upstairshotel, building, sackville street, patrick tennyson, w.j.wright -
Wangaratta RSL Sub Branch
Framed Badge Collection
Allied military badges collected during the Great War 1914 to 1918 by Private (Shoeing Smith) John BLAIKIE 2341 who was born at Wangaratta. He was a Blacksmith and at the age of 42 enlisted on May 28 1915. He embarked on August 10 1915 and served with the 14th Battalion. He returned to Australia in January 1918 and discharged as medically unfit on April 10 1918. Inset photograph is of John BLAIKIELarge collection of allied military badges collected during the campaigns in France, Belgium and Egypt in 1916-17 by John BLAIKIE 2341. A Blacksmith who at the age of 42 years enlisted in the Army and served during the first world war. On his return to Australia he was discharged medically unfit due to rheumatism and senility. He was a stalwart of Wangaratta RSL and his collection was present to the Sub Branch as a souvenir of the first world war.Brown timber frame in the shape of Australia containing a large collection of badges and small photograph Souvenir of the Worlds Great War 1914 to 1918 Military Badges Collected by J BLAIKIE 14th Batt 4th Div AIF In Belgium France & Egypt 1916-1917military badges, ww1 -
Victorian Aboriginal Corporation for Languages
Conference proceedings, Joan Argenter, Endangered languages and linguistic rights on the margins of nations : proceedings of the Eighth FEL Conference : Barcelona (Catalonia) Spain 1-3 October 2004, 2005
Section 1: Grass-roots Efforts and Top-down Institutions Keynote Address: Leanne Hinton The Death and Rebirth of Native American Languages Patrick Marlow Bilingual Education, Legislative Intent, and Language Maintenance in Alaska Galina Dyrkheeva New Language Policy and Small Languages in Russia: the Buryat Example Zelealem Leyew The Fate of Endangered Languages in Ethiopia Gregory Hankoni Kamwendo Language Planning from Below: Chitumbuka as a Marginalised Language in Malawi John Hobson Learning to Speak Again: Towards the Provision of Appropriate Training for the Revitalization of Australian Languages in New South Wales Shelley Tulloch Grassroots Desires for Language Planning in Nunavut Amandina C�rdenas Demay Hacia la definici�n de una pol�tica del lenguaje & Alejandra Arellano Mart�nez expl�cita en M�xico Elena Benedicto, G. McLean, Linguistic Rights in the Nicaraguan Atlantic Coast: Grupo de Ling�istas Ind�genas Mayangna Actions on the Ground within the Legislative Framework of the Estatuto de Autonom�a Bartomeu Meli� Las lenguas ind�genas en el Paraguay. Una visi�n desde el Censo 2002 Monica Ward Building from the Bottom-up: Linguistic Rights for Extremely Endangered Languages Marta Moskal Language Policy and Protection of Endangered Languages in Poland Sue Wright What is a language? Some difficulties inherent in language rights Joan Ramon Sol� Obstacles in the Way of the Recovery of Catalan Section 2: The Global vs. the Local in Linguistic Rights Keynote Address: Patxi Goenaga Fronteras que dividen y fronteras que separan. Una mirada a Europa desde el Euskara Yun-Hsuan Kuo Languages, Identity, and Linguistic Rights in Taiwan Estibaliz Amorrortu, Andoni Barre�a, What Do Linguistic Communities Think about the Esti Izagirre, Itziar Idiazabal, Bel�n Uranga Official Recognition of their Languages? Alok Kumar Das Linguistic Practices and Not Just Linguistic Rights: Endangered Languages in New Europe Section 3: Languages crossing the Borders Keynote Address: Tjeerd de Graaf The Status of Endangered Languages in the Border Areas of Japan and Russia Mariana Bara Arm�n endangered language Ver�nica Grondona Language Policy, Linguistic Rights and Language Maintenance in Argentina Grup d?Estudi de Lleng�es Amena�ades Linguistic diversity in Catalonia: towards a model of linguistic revitalization Nataliya Belitser Endangered Languages in Crimea/Ukraine: The Cases of Crimean Tatar, Karait, and Krymchak Ivelina Kazakova & Maria Miteva The Future of Bulgarian: The Road to Extinction or Paradise Regained Luke O?Callaghan War of Words: Language Policy in Post Independence Kazakhstan Eden Naby From Lingua Franca to Endangered Language: The Legal Aspects of the Preservation of Aramaic in Iraq Poster presentations Akim Elnazarov Endangered languages and Education. A Case of Badakhshan Province of Tajikistan Arnfinn Muruvik Vonen & Oddvar Hjulstad Linguistic Rights Paving the Way Towards Language Endangerment? The Case of Norwegian Sign Language Eva Savelsberg Kurdish (Kurmanc�) as Minority Language in the Federal Republic of Germany Jos� Antonio Flores Farf�n Cultural and Linguistic Revitalization, Maintenance and Development in Mexico Mary Jane Norris Assessing the Status, Use and Accessibility of Canada?s Aboriginal Languages within Communities and Cities: Some Proposed Indicators Michael Prosser van der Riet Promotion of Minority Language Scripts in Southwest China. A Relative Success or Complete Failure? Mikael Grut The Endangered Celtic Languages: A Wake-up Call Nariyo Kono Developing Partnerships Between Universities and Language Communities: Top-down and Bottom-up Integration Richard J. Hawkins Probit Modeling Language Attrition Rudy Osiel Camposeco El idioma maya Popti? y la Declaraci�n Universal de los Derechos Ling��sticos Victorio N. Sugbo The literary Response: Claiming Rights in Three Philippin Languages Ya-ling Chang Language Policies in an Aboriginal Primary School in Taiwanmaps, tables, graphsnsw, endangered languages, linguistic rights -
Vision Australia
Document - Text, Victorian Blind Sports Association letterhead
Summary update of Centenary AppealBlank letterhead for documents sent out by the Victorian Blind Sports Association, during 1980's and possibly early 1990's. Logo consists of a large V, with an upside smaller v between to turn the middle into a diamond shape. Three circles overlap across the middle of the diamond/V.Blank A4 paper with Vic Blind Sports logo, address and list of sports covered at basenon-fictionVictorian Blind Sports Association All correspondence to: SECRETARY C/- 454 Glenferrie Road, KOOYONG, 3144 Telephone: 20-8876 Patron: Mr John Cain Premier of Victoria (At base of page:) Affiliated bodies - Cricket, Lawn Bowls, Olympic Sports, Square Dancing, Swish, Skiing, Indoor Bias Bowls and Goal Ball Donations of $2.00 and over are Tax Deductible.elizabeth maxwell, neil maxwell, victorian blind sports association, office equipment and supplies -
Vision Australia
Administrative record - Text, 79th Annual report 1974 Association for the Blind of Victoria, 1981
... wilkins bruce small hubert opperman john wicking ...Articles in annual report include: President's report, finance report, auditor's report, balance sheet, nursing homes, social work, rehabilitation, low vision clinic, honorary services, auxiliary income, blind members, sport and recreation, life governors. There are reports on launch of the Guiding Light Appeal, purchase of land near Elanora, Kelaston extensions and a property secured at Geelong as well as the awarding of Elsie Henderson's MBE.1 printed volume with illustrationsassociation for the blind, corporation records, henry bolte, rohan delacombe, john taylor, arthur wilkins, bruce small, hubert opperman, john wicking -
Vision Australia
Administrative record - Text, 81st Annual report 1976 Association for the Blind of Victoria, 1981
Articles in annual report include: President's report, finance report, auditor's report, balance sheet, nursing homes, social work, rehabilitation, low vision clinic, honorary services, auxiliary income, blind members, sport and recreation, life governors. There are reports on the loss of George Vowell before approval of the nursing home named in his honour, death of Elsie Henderson, conversion of garage into Low Vision Clinic at Kooyong and opening of Illawarra in Geelong.1 printed volume with illustrationsassociation for the blind, corporation records, john wicking, henry winnecke, patricia heath, nellie shaw, gordon baxter, kevin heinze, hubert opperman, bruce small, bob pearson, arthur wilkins