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Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of John Arthur and Grace Mitchell, Eltham Cemetery, Victoria, 5 April 2021
Grace Mitchell, a talented artist in later life and baker, managed a pastry shop business near the corner of Mount Pleasant and Main roads, Eltham in the 1950s. Shortly after her marriage to Arthur Mitchell in 1948, Arthur incurred a head injury from an accident and was unable to work. Grace realised she needed to be home to care for her husband as well as earn an income. She managed the bureaucracy of council permits, and made modifications to her home with savings to get the business off the ground without having to borrow money. Grace and Arthur were avid gardeners and would grow, wash and mince vegetables for pasties while Grace handmade and rolled the pastry. They cooked and minced their own meat for the pies and the fruit for the sweet pies came from their orchard at the rear of the property. She also baked scones and cakes. With weekend visitors travelling to Eltham on the train for days trips, her reputation grew as the spot for afternoon tea. Grace’s daughter Jenni mentions the visit of dancer, Robert Helpmann and U.S. actress Katherine Hepburn in her Grace Mitchell: a short history [2012]. Reminiscences in We did open a school in Little Eltham: Eltham Primary School 209, 1856-2006 a history [2006] include a mention of Grace’s famous pastry shop and the Sunday afternoon visit by Helpmann and Hepburn. Grace operated her pastry shop for over 16 years. She supported the Shillinglaw Cottage Preservation Campaign to preserve the cottage through its Flavour of Eltham community cookbook published in 1964 and hosted cooking classes in the new Living and Learning Centre. Grace Mitchell passed away aged 95 years in 2011. In memory of John Arthur Mitchell 1905 – 1975 And Grace Mitchell 1916 – 2011 Loving parents of Jennifer MitchellBorn Digitaleltham cemetery, gravestones, grace mitchell, john arthur mitchell -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Jelbart home, 93 Arthur Street, Eltham, 11 November 2006
Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Jelbart Barn, 93 Arthur Street, Eltham, 11 November 2006
Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens -
Federation University Historical Collection
Article - Article - Women, Women of Note: Author and Activist; Doctor Beatrice Faust, (1939-2019)
Beatrice Faust was born Beatrice Eileen Fennessey in Glen Huntly, a suburb of Melbourne, on 19 February 1939. She was educated at Mac Robertson Girls' High. She attended Melbourne University in the 1950s, where she became acquainted with Germaine Greer and they extended their feminist inclinations. She earned her bachelor's degree in English and subsequently her master's degree. The first of her two marriages was to Clive Faust during her time at university. Having become known as a public figure with the Faust surname, when they later divorced she retained the name. She was one of the first women to argue for civil liberties, abortion law reform and well-informed sex education for all. In 1966 she co-founded the Victorian Union of Civil Liberties to advocate for civil rights and, in 1972, the Women's Electoral Lobby (WEL), to agitate for legislative reform along specifically feminist lines and to give Australian women a greater voice in politics. In the latter part of her career, Bea became a lecturer in English at RMIT in Melbourne, then from 1990-2003 she was at Monash University’s campus at Churchill, Gippsland, (now Federation University) where she was an educational designer in the Centre of Learning and Teaching Support. She retired at 67. In 2001 Faust was awarded the Centenary Medal. In the same year, she was inducted into the Victorian Honour Roll of Women. In 2004 she was appointed an Officer of the Order of Australia for such efforts and more. "Today we pay tribute to one of Victoria’s great feminist leaders, Dr Beatrice Faust AO, who sadly passed away yesterday. Beatrice tirelessly advocated for women’s rights and equality in government policy and for the right to abortion, amongst many other achievements. We recognise her contribution to making Victoria a more gender equal state." Statement from Gender Equity.women of note, beatrice faust, beatrice fennessey, melbourne, macrobertson girls' high, melbourne university, germaine greer, civil liberties, abortion law, informed sex education, victorian union of civil liberties, women's electoral lobby, centenary medal, order of australia, victorian honour roll of australia, gender equity, lecturer, rmit, royal melbourne intitute of technology, monash university, churchill, gippsland -
Flagstaff Hill Maritime Museum and Village
Ceramic - Chamber Pot, 1912
In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot -
Flagstaff Hill Maritime Museum and Village
Ceramic - Chamber Pot, J & G Meakin, Early to mid 20th century
In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchenware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the 'Bull in a China Shop' and 'Creative Tableware' names. 'Sol' (c.1912-1963), 'Studio' (1953 on) and 'Royal Staffordshire' (post-1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Chamber pot ceramic white with handle at side and decoration around top. Unclearwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, champer pot, personal hygiene, personal item, ceramic pot, domestic object -
Flagstaff Hill Maritime Museum and Village
Equipment - Beach cart cover, Government of Victoria, 1860s
The load of heavy beach apparatus life saving equipment was held in place on the beach cart by the hand worked rope net cover. It would be stored in the Rocket House packed and ready to use for practice or rescue. Beach apparatus equipment - In the mid-1800s the equipment could include a line throwing set, coiled line in wooden carrying case, rockets, cartridges, breeches buoy, hawser and traveller block, line-throwing pistol, beach cart, hand barrow, sand anchor, crotch pole, and tools such as spade, pick, mallet and hawser cutter. Around the 1860s Warrnambool had a Rocket House installed beside the Harbour. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. This cover was used with the beach cart. The cart is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Rectangular rope cover, hand worked for the purpose of covering the beach cart. The cover is made from heavy rope in a pattern that looks similar to crochet. A loop has been worked into each corner.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, lady bay, warrnambool harbour, port of warrnambool, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, beach rescue, rescue equipment, rocket rescue equipment, marine technology, lifeboat, volunteer lifesavers, volunteer crew, lifesaving rescue crew, rocket apparatus, stranded vessel, rocket rescue apparatus, beach apparatus, life jacket, rocket shed, rocket line, beach rescue set, rocket set, beach cart, hand barrow, welsh hand barrow, harbour board, government of victoria, harbour master, l.s.r.c., lsrc, rocket house -
Australian Gliding Museum
Machine - Glider - Sailplane, 2012
The ES52 Kookaburra is a two seat high wing glider – sailplane of wooden construction designed by Harry Schneider and built Edmund Schneider Pty Ltd. It was first flown on 26 June 1954 and became the glider of choice for training new pilots of many gliding clubs around Australia in the 1950s, 1960s and 1970s. Several found there way to New Zealand. Further two kits were sent to Brazil and at least one of these was finished and flow successfully. The ES52 performed well with a glide ratio of about 22:1 and had soaring and cross-country capabilities. A notable feature of the ES52 design was the staggered side-by-side seating arrangement of the cockpit. This made for good in flight communication between instructor and trainee. Overall, thirty six were built by Edmund Schneider Pty Ltd. A longer wing version (the ES52B) was also introduced that had a better glide ratio (around 25:1). Five examples of this version were built. In Germany a modified ES52 was built incorporating a metal tube fuselage frame and with the addition of a engine driven propeller mounted on top of the wing which enabled the glider to be self launching. This museum collection item consists of the fuselage, tailplane, elevators, fin, rudder from the Mark I, ES 52 Kookaburra, formerly registered as VH-GFF and last owned by the Barcaldine and District Airsports Club of Queensland. The glider was in a damaged condition when it was acquired by the Museum. A decision was made by the Museum to repair the glider for display rather than endeavouring to restore it to an airworthy condition. The reconstruction of the wings is being undertaken by using parts of damaged ES 52 Kookaburra wings (as it happened from later ES 52 Marks). The Log Book for VH-GFF reveals operational life with a succession of gliding clubs around Australia. This exhibit will be of interest to gliding enthusiasts wishing to inspect the popular two seat club trainer of a by-gone era.This is a wood and fabric covered aircraft that is being rebuilt from the components of several aircraft as a non-flying exhibit.Fuselage marked with Edmund Schneider Pty Ltd Serial Number 9 and comes from the glider previously registered as VH-GFF.australian gliding, glider, sailplane, edmund schneider, es 52, kookaburra, barcaldine and district airsports club, victorian motorless flight group, alice springs gliding club, raaf richmond, raaf williamtown, gayndah gliding club, blackwater gliding club, southern downs aero and soaring club, charleville gliding club -
St Kilda Historical Society
Photograph, St Moritz St Kilda - images collection #1, c1940s
The St. Moritz Ice Rink was a popular ice skating rink on The Esplanade, St. Kilda, Victoria. It operated between 1939–1981. As one of only two ice rinks in Melbourne in the 1940s and 1950s, it played a central role to the sport of ice hockey in Australia. Closed in 1982, it soon suffered a major fire and was then demolished, an event later seen as a major blow to the heritage of St Kilda. It was first built as the Wattle Path Palais de Danse in 1922, a very large dance hall, designed by architects Beaver & Purnell, The Wattle Path was the venue for the first all-Australian dance championship, and featured some of the best dance bands of Australia, as well as from America. Popular throughout the 1920s, it suffered due to the Great Depression, and closed in the early 1930s. From 1933-1936 the building became a film studio, Efftee Studios, for Frank W. Thring. In 1938, businessman Henry Hans "Harry" Kleiner announced that the Wattle Path would become an ice rink. He was sole proprietor until 1953, when he sold the business to J. Gordon and T. Molony, both champion skaters. Trade declined during the 1970s. The building was sold in 1980 to developers Hudson Conway and trucking magnate Lindsay Fox and was closed in early 1982. It was nominated to the Historic Buildings Preservation Council, but a majority of City of St Kilda councillors voted to oppose this action and uphold a demolition permit already issued. The building infamously suffered a fire later that year, leaving only the facades, which were demolished soon after. The site remained vacant until about 1991, when a mid-price hotel called the St Moritz was constructed. By 1993 it was simply called the Novotel St Kilda. The hotel closed in 2019 and was replaced by an apartment complex.black and white photographSt Moritz, St Kilda. Ice Skating. Caf�st moritz, st kilda, the esplanade, ice skating -
National Wool Museum
Photograph, Puckapunyal - 75,172 Sheep for Shearing, 1988
Banjo Paterson once wrote, ‘The musterers are fetching them a hundred thousand strong’. Well, not quite 100,000 strong, but there are 75,172 mixed age Riverina-bred merino wethers in this mob mustered for shearing on January 22, 1988. The sheep were owned by the Mountjoy family from Geelong Victoria and were running on Puckapunyal Army Base near Seymour in Central Victoria on which the family held the grazing lease. Contractor for the shearing, Jim Walker, Avenel, Victoria, former Australian shearing team captain in 1974-75 and 1978-79, recalls there were up to 21 shearers in his team waiting for the red eyes to arrive despite the mid-summer heat of up to 38°C and the blinding dust on windy days. Jim Walker thinks there may also have been some sheep in the mob from Portland Downs and Isis Downs near Isisford in Central Queensland. The biggest shearing he did at ‘Pucka’ was 87,087 shorn in 1988. The ‘Pucka’ base was established during WW1. During the Second World War the Second Australian Imperial Force trained there as well as the US Army 41st Infantry Division. It was also home to the 1st Armoured Regiment from 1949 until 1995. During the 1950s up to 4000 national servicemen at any given time were training there. In the 1980s the Army undertook a major 60,000-acre land rehabilitation programme as decades of heavy use had led to serious degradation. By 1988 when the photo was taken, further land acquisition had increased the area to just under 100,000 acres, 43,000 of which is still bush country. There are no sheep there now, and the old shed was bulldozed and burnt. There are thousands of kangaroos which of course don’t need to be shorn and would be hard to muster and hold for a similar photo. Colour photograph, 75,172 merino wethers, mustered for shearing at Puckapunyal in 1988.shearing merino sheep, mountjoy, mr dale - worungalla pastoral co., shearing, merino sheep -
Kew Historical Society Inc
Painting - Panoramic View of Kew and Abbotsford from the garden of Rockingham, V Maloney, 1952
The extensive formal landscaped gardens of Rockingham had been created in the 1860s, and by the 1950s remained bordered to the south by the Barkers Road cutting, and to the north by Blytheswood, the neighbouring Syme family property, By 1940, the Syme family were no longer the occupiers of Rockingham. John Herbert Syme had died in October 1939, and by August the following year, his wife had made the house and garden available, rent free to the Red Cross as a convalescent home for Australian soldiers injured in the Second World War. At the time, the house was described as containing twenty rooms, including a ballroom and a billiards room, with a garden of eight acres overlooking the Yarra. The task of renovating the house to conform to its new function as a convalescent home took a year, finally opening in August 1941. Community support for Rockingham was widespread and included the decision by the National Gallery of Victoria to loan pictures from its collection to decorate the walls. Calls were made for women around Victoria to donate fruit and vegetables from their gardens, which the railways agreed to freight for free. Other local support included the work by a team of boys to establish a three-acre vegetable garden within the formal terraced gardens. From the beginning, occupational therapy formed a key component of the rehabilitation of psychologically injured soldiers. This is confirmed by contemporary newspaper accounts of weaving, ironwork, leatherwork, basketry and gardening by patients. Numerous photographs, held by the Australian War Memorial (AWM) and the State Library of Victoria (SLV), record the importance of these rehabilitation activities. The painting of the view across the river to Abbotsford may have been painted in one of these occupational therapy sessions. For many decades it hung in the occupational therapy room. It must have been on view following the sale of Rockingham by the Syme family to the Red Cross in 1955, and subsequently, until the house was demolished and its grounds finally subdivided in 1977.View of Abbotsford from the garden of Rockingham (1952) was created by V Maloney. The vantage point of the artist was the garden of Rockingham, one of two mansions overlooking the Yarra owned by the Syme family. The artwork depicts a number of sites - especially factories - that have since been demolished.Signed by the artist, lower right "V Maloney"rockingham red cross convalescent home, hospitals - kew (vic), rosemary lade, art therapy -
Kew Historical Society Inc
Clothing - Black Silk & Lace Bodice, 1880s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller -
Kew Historical Society Inc
Clothing, Black Silk & Lace Bodice, 1880s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller -
Kew Historical Society Inc
Clothing - Black Silk & Lace Bodice, 1880s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller -
Kew Historical Society Inc
Clothing, Silk Velvet & Lace Bodice, 1880s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller -
Kew Historical Society Inc
Clothing, Black Silk & Lace Bodice, 1890s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices -
Kew Historical Society Inc
Clothing, Black Silk Bodice, 1880s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller -
Kew Historical Society Inc
Clothing, Black Silk Bodice, 1890s
Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller -
Surrey Hills Historical Society Collection
Photograph, Kleinert family at 34 Union Road, Surrey Hills
William Kleinert (Friedrich John Wilhem Kleinert) made wine from the grapes he grew. The house was built in 1905 and was the home of William and Emily Kleinert from 1905. William was a coach-builder, wheelwright and blacksmith. He moved from Prahran to Surrey Hills. His son Ernest worked with him as a coach painter and also worked as a painter undertaking intricate hand painting on early cars. Their other son Martin played for the Surrey Hills Football Club. In return for the support given to the club by Mrs Emily Kleinert, it built a rotunda in South Surrey Park as a memorial to her. Alan Holt research: Lot 6 was sold to Martin Klienert by Karl Richter in 1860 together with a portion of another adjacent lot. From 1860-1885 Martin worked it as a market garden leasing some land for grazing when it was not required for gardening. He died in 1898. In a formal document, William declared he was the son of Martin "who purchased land in 1860, died in 1898 and the land has been continually occupied by father and family since. It has been cultivated as a market garden; when not being used for gardening it was let for cultivation and grazing." William died in 1939 and the property passed to his sons Martin and Ernest. The Kleinert land extended from Union Road to Essex Road. They ran horses, ducks and fowls and Emily Kleinert grew flowers. The Kleinert property later became the South Surrey Park. The family sold the land to the Camberwell Council in the 1950s. Ernest and Ida Kleinert lived on the corner of Scotsdale and Warrigal Roads. The donor of the photo Nada Harris, nee Kleinert, was Ernest and Ida's daughter. Ida lived to a good age (> 93 years) and in later life lived in Burwood.Black and white photo of a group of men and women posed against the backdrop of a timber house. Immediately behind the group is a large grape vine and drying racks can be seen to the left of the picture. The group is identified as: Standing L to R: Ernest Kleinert, Rose Kleinert, William and Emily Kleinert, ? (unidentified), Ida Kleinert (nee de Vasey) Seated (L to R): Martin Kleinert, Nada Kleinert (daughter of Ernest and Ida and 1st grand-daughter of William and Emily), great-grandmother Maria Radford, Ivy Kleinert.surrey hills football club, blacksmiths, wheelwrights, coachbuilders, harris, rotunda, william kleinert, vineyard, ernest kleinert, rose kleinert, ida kleinert (mrs), ida de vasey (miss), martin kleinert, nada kleinert (miss), ivy kleinert (miss), friedrich john wilhem kleinert, emily florence radford (miss), maria dina radford (mrs), maria dina aylwin (miss) -
Federation University Art Collection
Drawing - Conte on paper, David Alexander, Portrait of David Alexander, 1947 by Geoffrey Mainwaring, 1947
Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide, South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. David Alexander was a medical doctor in Ballarat for many years. Alongside his medical work he was a committed artist, producing a large body of work over his lifetime. He was an instigator of the Federation University Art Collection and was a great supporter of local artists. Geoff Mainwaring taught painiting at the Ballarat Technical Art School, a division of the Ballarat School of Mines. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed portrait of Dr David Alexander by Geoffrey Mainwaring. Gift of David Alexander, 2014art, artwork, david alexander, available, ballarat technical art school, portrait, geoff mainwaring, mainwaring, australian war artist -
Falls Creek Historical Society
Photograph - SEC hut - home to Skippy and Toni St. Elmo
Mavis Grace Lindsay born in 1917 and married Toni St. Elmo in Ballarat on 18 December 1944. She was known as “Skippy” from childhood. They moved from Melbourne in 1945 and spent the year living in Wallace’s Hut. Toni was employed by the State Electricity Commission to record weather-related data. They were to become responsible for early developments at the Falls Creek resort and for promoting a love of skiing. Toni taught Skippy to ski and she practised on the High Plains where she and her husband lived. Toni entering her in the first club championships held by the Bogong Ski Club at Rocky Valley, which he had established. Skippy St Elmo won many ski races during the 1950s and represented Australia in New Zealand. In 1947, the first ski lodge was built by six SEC employees including Toni St Elmo. The lodge was named “Skyline”. In 1957, Toni was involved in building the first rope tow at Falls Creek, called Nissen. He also established the Nissen Ski School. In 1949, Skippy won the Downhill and Combined State Championship held at Mt Buller. In 1950, Skippy was selected to compete in New Zealand with the Victorian team. Skippy trained with the men at the Bogong Ski Club which became a talking point in 1953 when the Albury Ski Club held an Open Championship and Skippy won in the Giant Slalom and Downhill. She went on to win many more races. In 1960, Skippy and Toni said farewell to Falls Creek. Skippy passed away in Queensland in July 2005 and Toni passed away in September of the same year. In November 2006 they were honoured at the Alpine Village at Falls Creek by the spreading of their ashes over Eagle Rock.A black and white photograph of Skippy and Toni St. Elmo standing in the doorway of their hut on the Bogong High Plains. A line of washing stretches behind the hut connected to the outside toilet.skippy st. elmo, toni st. elmo, sec hut skippy and toni st. elmo -
Wodonga & District Historical Society Inc
Photograph - Fred Rochow Railways Collection - Shunting at Shelley Station, 1961
The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Left to Right: Fireman Bert Cadman, Driver Wally Riley, Guard Hugh Fraser. Locomotive S300 - the ‘Matthew Flinders’ The S class diesel locomotives were built by Clyde Engineering in 1957 for the Victorian Railways. Designed as premier express passenger diesels, they assumed the ‘S class’ title from a fleet of steam locomotives. They were also given names of famous Australians. The S300 took the name ‘Matthew Flinders’. In 1962, S300 was converted from the Victorian broad gauge of 5’3” to the New South Wales gauge of 4’8.5”, in order to operate the new Southern Aurora between Sydney & Melbourne. As the locomotive grew older it was removed from these duties and was sold to Chicago Freight Car Leasing Australia (CFCLA) in 2004. It is now owned by a private owner and is on loan to the Canberra Railway Museum.railways wodonga, fred rochow, wodonga railwaymen, s class locomotive -
Wodonga & District Historical Society Inc
Photograph - Fred Rochow Railways Collection - Shelley Station
The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Shelley Railway Station. This image shows the tank where the hand brakes were lifted. They were applied again at the "up" side of Koetong for about another 10 miles then lifted near Bullioh.railways wodonga, fred rochow, shelley station, high country rail trail -
Melbourne Legacy
Photograph - Photo, Legacy Week 1988, 1988
A photo of Professor Geoffrey Blainey speaking at a the public launch of Legacy Week at the ANZ Pavilion at the Victorian Arts Centre. The date is 23 August 1988. Also a photo of John Lady and Terry Hawksley. The attached label says: " Melbourne Legacy held its first official public launch - a luncheon for Melbourne's leading business community at the ANZ Pavilion at the Victorian Arts Centre to highlight 'Legacy Week'. Professor Geoffrey Blainey, AO, addressed the guests and was joined by Legacy's 1988 personality, Australia's first under 4 minute miler, John Lady." They were in a folio of photos from 1988. (see also 001042 to 01049) From Wikipedia: "Geoffrey Norman Blainey AC, FAHA, FASSA (born 11 March 1930) is an Australian historian, academic, philanthropist and commentator with a wide international audience. Biographer Geoffrey Bolton argues that he has played multiple roles as an Australian historian: He first came to prominence in the 1950s as a pioneer in the neglected field of Australian business history....He produced during the 1960s and 1970s a number of surveys of Australian history in which explanation was organized around the exploration of the impact of the single factor (distance, mining, pre-settlement Aboriginal society).... Blainey next turned to the rhythms of global history in the industrial period.... Because of his authority as a historian, he was increasingly in demand as a commentator on Australian public affairs." From the name badges the attendees included: 1. Geoffrey Blainey. 2. John Landy and Terry Hawksley. 3. A girl and L/ Geoff Swan. 4. L/ David Millie and Jim Madden. 5. John ? and L/ Colin Bannister. 6. Patsy Adam-Smith (?) and artist Geoffrey Mallett. 7. ? and Jim Dickson. 8. Peter Prior and Abe Birmingham. 9. President Chas Wilks speaking. 10. President Chas Wilks and Rupe Thomas.A record of celebrities being involved in promoting Legacy Week in 1988 and an official launch at Victorian Arts Centre.Colour photo x 10 of public launch of Legacy Week in 1988.Yellow paper label explaining the event in black type.legacy week, legacy promotion, speakers -
Melbourne Legacy
Document - Speech, In Proud Remembrance - from a speech by Colonel A. N. Kemsley, E.D. at a weekly luncheon of Melbourne Legacy, pre 1953
A document containing a speech by Colonel A. N. Kemsley, E.D. at a weekly luncheon at Legacy sometime in the early 1950s. He presented details of the initial building of the Shrine and the changes being made to commemorate the second world war, such as the forecourt and new cenotaph and flagpoles. He mentions the upcoming Anzac Day in 1953. After the first world war there was a decision made to create a memorial. Legatees were involved in the process at various times and capacities. In particular Legatee Kemsley was vocal in idea of a structure over a utilitarian memorial (such as a hospital or a park) - see letter at 01182. These notes include the resolution that passed at the Melbourne Town Hall at a public meeting: "That this meeting of citizens confirm the launching of an appeal by the Lord Mayor to establish a National War Memorial by means of a monument and that an executive committee with the Lord Mayor as Chairman with power to add and point sub-committees be formed to carry out the project." Also that 20 sites were selected for consideration in 1921. Although the St Kilda Road site was favoured early on, by 1926 there was pressure to change to a "provision of square" and Cenotaph at the intersection of Spring and Bourke Streets. Legacy Clubs voiced their opposition to this proposal by passing a resolution "That the Melbourne Legacy Club, representative of the returned soldiers in business in this city, whilst welcoming the Anzac Square Scheme as a city improvement, cannot support it as a War Memorial scheme and affirms its support for the Shrine of Remembrance in the Domain as the only War Memorial worthy of Victoria's unparalleled efforts in the Great War." The document was in an envelope with a letter dated 30 April 1971 (01182) that also outlines the efforts Legacy (especially L/- Kemsley) went through to promote the construction of the Shrine of Remembrance over a proposed square. The envelope says 'The Origin of the Shrine of Remembrance p/p Legatees Kemsley and Joynt'. And the initial 'JMBA'?. It was in a file with other documents concerning the Shrine and it's history.A record of the events that led to the construction of the Shrine of Remembrance as noted by a Legatee at the time. There was an effort to record historical events for the "Archive Committee" which collected this an other documents relating to the Shrine together in a file (see items 01181 - 01190, 01206 - 01212)White quarto paper x 8 pages of black type of a speech given by Legatee Kemsley.S6 in red penmemorial, speech, shrine of remembrance, kemsley -
Melbourne Legacy
Document, History of Legacy 1946 (H19), 1946
A document summarising events significant to Legacy in the year 1946. With the return to peacetime the question of eligibility arose. The fundamental rule on which Legacy was based 'that of honourable service overseas' was clear cut in the case of the 1914-1918 war 'but much more difficult to define in the many and varied fields of service in the war which commenced in 1939'. Discussions were continued through the war at Annual Conferences. Many members believed that membership should be open to 'any male person who served as a member of the Forces of the British Empire irrespective of whether or not overseas service was involved'. And a resolution was passed at the 18th Annual Conference in Adelaide in 1946. Similar discussions of eligibility of Junior Legacy benefits was also discussed and definitions evolved. There was an increased need to help young widows with young children. First mention of the need to have a 'toddler home' for children from age 3 to 8. A property was acquired in Balcombe road with donation from the Trustees of 'Blamey House' - a war time hostel for servicemen which was being wound up and balance of funds being donated to Legacy. (Property acquired was 'Mossgiel' in Balcombe rd but renamed Blamey house due to the terms of the donation). Also the former Red Cross property of 'Stanhope' was made ready for the first residents welcomed in December 1946. Dureau House was under 'constant consideration'. (It seems the Dental Clinic was transferred here and there other part made available to the Melbourne Technical College - but in the 1950s it was still not suitable for Legacy's headquarters and sold). Classes during the war had been difficult to find suitable halls, and 43 Market St was still being used by the Air Force. A superannuation scheme was instituted for the Legacy staff. The notation H18 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A report covering the main work of Legacy in 1946.White foolscap paper with black type x 5 pages of the achievements of Legacy in 1946.Handwritten 'H19' in red pen.history, annual summary -
Bendigo Historical Society Inc.
Document - BUSH COLLECTION: EPHEMERA
Ephemera from Original Box 313; This is not a catalogued description of the contents but a broad-brush overall description. a. Book with 'Ledger' on cover; has newspaper cuttings re stage and screen on 8 of 94 pages (remaining, mostly blank); b. Gordon & Gotch - Sample Calendar No. 3 1935.( 61 cm x 50 cm) x2; c. Gordon & Gotch - Sample Calendar No. 2 (61 cm x 50 cm) x 2; d. Victorian Act of Parliament No 3041 (amending the Law relating to Public Health, 1919, 176 pages; e. Victorian Act of Parliament -(amending the Sewerage District Acts No 3437, 1925, 5 pages ; f. Scrapbook with cuttings from papers relating to Australia's history, scenery, flora and fauna, Farming, Industry, Rodeo, Horse Racing, Rural, Surf Life Saving, Religion, Federation, Explorers, Gold, Birds, - some loose cuttings in back; g. Land Tax Act, Schedule L 1910 (blank sheet); h. Commission of Public Health - three day tour of Western District (Warrnambool, port Fairy, Colac) from Melbourne; i. Collection of cuttings, envelopes; j. Newspapers - Argus, Advertiser pages late 1930s; (not scanned) k. Collection of newspaper cuttings; l. Collection of Public Health Regulations, 7 parts; m. Act of Parliament, Victoria No. 2632 - Law relating to Amendment of the Constitution; n. Folder containing issues of The Bendigo Church News, 25 parts 1930s-1950s; o. Collection of book lists/catalogues; p. AA (Automobile Association) Members Handbook 1963; q. Collection of varied sheets and pamphlets; r. Articles of Association - Ocean Salt Company; s.. Sydney Symphony Orchestra program 1953; t. Queen Mary's Message to the people, Jan 1936; u. various notices for display of historical items (BHS Collection)ephemera, mementoes -
Victorian Aboriginal Corporation for Languages
Book with CD, Doreen Mellor et al, Many voices : reflections on experiences of Indigenous child separation, 2002
This book bring together voices of children who were separated from their families, people who cared for them, families who took them into their homes and Government officers who carried out official directions. Contents of CD: Track 1. Jim Hart, b.1927, Queensland, separated from family as a child. See ch. 5. Interviewer: David Woodgate (3m 02s) track 2. Clara Coulthard, b.1929, South Australia, separated from family as a child. See ch. 3. Interviewer: Sue Anderson (4m 06s) track 3. John Moriarty, AM, b.1938, New South Wales, South Australia, Northern Territory, separated from family as a child. See ch. 4. Interviewer: Frank Heimans (4m 12s) track 4. Sandra Hill, b.1951, Western Australia, separated from family as a child. See ch. 11. Interviewer: John Bannister (4m 11s) track 5. Trevor Deshong, b.1965, Queensland, separated from family as a child. See ch .6. Interviewer: Colleen Hattersley (4m 45s) track 6. Julie Wilson, b.1958, New South Wales, adopted as an infant. See ch. 6. Interviewer: Frank Heimans (4m 04s) track 7. Dorothy Pyatt, b.1918, South Australia, police officer in remote South Australia, 1950s and 1960s. See ch. 8. Interviewer: Karen George (4m 18s) track 8. Margaret Somerville, MBE, b.1912, New South Wales, Northern Territory, missionary and cottage mother. See ch. 7. Interviewer: Frank Heimans (3m 15s) track 9. Reg Worthy, OAM, b.1920, Queensland, Northern Territory, Victoria, welfare officer, senior administrator, Departmental Head. See ch. 8. Interviewer: Barbara Erskine (4m 55s)D?.b&w photographs, b&w illustrations, CDstolen generations, child welfare, bringing them home, oral histories -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Eltham Living and Learning Centre, 26 January 2008
In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p59This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, benjamin oliver wallis, claire fitzpatrick, don maling, dr alfred fitzpatrick, eltham living and learning centre, frank maas, john pearson, richard gilsenen, tannery -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of James Hans Morrison and Beatrice Wanliis Morrison, Eltham Cemetery, Victoria, 5 April 2021
Beatrice Irvine was the daughter of former Victorian Premier Sir William Irvine. From age 13 she lived at ‘Killeavey’ off Laughing Waters Road (later accessed from Reynolds Road). In 1923 she married James Morrison and the couple received Killeavey as a wedding gift. The property supported fruit and vegetable growing as well as an impressive botanical garden. But James died in 1936 after a period of ill health, leaving Beatrice to support their six children. To make matters worse, the house was totally destroyed in the Black Friday bushfires in 1939 but was rebuilt. Beatrice became involved in community issues. In particular, she was an active member of the Eltham Women's Auxiliary, which was formed in 1945 to raise funds for the establishment of an Eltham War Memorial. From the outset, it was decided that this would take the form of a Baby Health Centre, a Pre-School and a Children’s Library, set in a garden of remembrance. Thanks to tireless fund-raising, the project came to fruition in the 1950s when, one by one, the three children's welfare buildings opened in Main Road (having previously been in temporary premises): they are collectively known as the Eltham War Memorial site. Beatrice continued to live at Killeavey and became well regarded as a botanist and naturalist. She died in 1989 and is buried in Eltham Cemetery with her husband and one of their sons. The (rebuilt) house has since been demolished. All that remains is a fragment of the garden. In Fond Memory Of James Hans Morrison Croix de Guerre Born St Peters Pass Oatlands Tasmania 6th June 1880 Died Killeavey Eltham 16th November 1936 And his beloved wife Beatrice Wanliss Morrison (nee) Irvine Born St Kilda Victoria 22nd January 1899 Died 5th November 1989 Who rest here James Hans Irvine Morrison Born Melbourne 11th October 1927 Died Gorora New Guinea 1st October 1971Born Digitaleltham cemetery, gravestones, beatrice wanliss morrison (nee irvine), james hans irvine morrison, james hans morrison, croix de guerre (france)