Showing 3098 items
matching joining
-
Warrnambool RSL Sub Branch
TUNIC - RAAF (Blue Grey) Service Dress Uniform Jacket, Military Uniform, 1998
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) 1A Service Dress Uniform 1A - Tunic (Jacket - Blue Grey). This uniform was in the period 1966 - 2001 as the primary uniform. Service Dress is approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The Tunic consists of a jacket has a lapel collar, with two external chest pockets and exposed pocket flaps, two side jacket pockets with external flaps and two internal jacket pockets positioned just below the external chest pockets. There is a crescent shaped cloth badge 'AUSTRALIA' sown at the side/top of each sleeve and Squadron Leader - rank stripes sown around each sleeve on the upper wrist area. The Tunic is closed with four gold buttons down the front. Each button is inserted through a small round hole sewn into the right side of the tunic front and held in place at the rear with a safety pin. There are four corresponding button holes sewn into the left front of the tunic to fasten the jacket in the normal closed position when worn. Maker: Australian Government Clothing Factory (A.G.C.F.) - Coburg Victoria The Tunic has two military decorations attached above the exterior left chest pocket. The decoration are: 1. Conspicuous Service Medal - Yellow and Green right sloping diagonal strips 2.. Defence Service Medal (with one clasp) - Blue and Gold upright stripes and round metal clasp positioned centrally. The DSM is awarded for 15 years service and a clasp is awarded for each additional 5 years service. -
Warrnambool RSL Sub Branch
TIE - RAAF (Blue Grey) Service Dress Uniform Jacket, Military Uniform, unknown
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) 1A Service Dress Uniform 1A - Tie (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: Austal -
Warrnambool RSL Sub Branch
JACKET - WORKING DRESS - RAAF (Blue Grey) Uniform Jacket, Military Uniform, 1990
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) Working Dress (Jacket - Blue Grey). This uniform was in the period 1966 - 2001 as the primary daily uniform in the office environment. Polyester working dress is approved for wear employed in office or business type environments. The short waist length jacket consists of a jacket has a lapel collar and zip front, with two external chest pockets and exposed pocket flaps, There are portlets on each shoulder that are fastened with a black plastic button. This button has a crown over eagle in flight on the front. Rank slides are slid onto these portlets and this jacket has Squadron Leader rank slides on the portlets. is closed with four gold buttons down the front. Each button is inserted through a small round hole sewn into the right side of the tunic front and held in place at the rear with a safety pin. There are four corresponding button holes sewn into the left front of the tunic to fasten the jacket in the normal closed position when worn. The waist belt is part knitted on the sides and cloth on the front and rear. There is also one interior pocket on the right side below the exterior breast pocket. Maker: Australian Defence Industries The Tunic has two military decorations attached above the exterior left chest pocket. The decoration are: 1. Conspicuous Service Medal - Yellow and Green right sloping diagonal strips 2.. Defence Service Medal (with one clasp) - Blue and Gold upright stripes and round metal clasp positioned centrally. The DSM is awarded for 15 years service and a clasp is awarded for each additional 5 years service. -
Warrnambool RSL Sub Branch
TROUSERS - RAAF (Blue Grey) Uniform, Military Uniform, 1988
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) trousers- Blue Grey. This uniform was in the period 1966 - 2001 as the primary daily uniform in the office environment. Polyester working dress is approved for wear employed in office or business type environments. The trousers have a belted waist and zip front, with two slant side pockets, money fob pocket below the waist on right side and two rear slit pockets. The trouser leg is pleated at the waist belt in the front. Maker: Australian Government Clothing Factory -
Warrnambool RSL Sub Branch
TROUSERS - RAAF (Blue Grey) Uniform, Military Uniform, 1995
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) trousers- Blue Grey. This uniform was in the period 1966 - 2001 as the primary daily uniform in the office environment. Polyester working dress is approved for wear employed in office or business type environments. The trousers have a belted waist and zip front, with two slant side pockets, money fob pocket below the waist on right side and two rear slit pockets. The trouser leg is pleated at the waist belt in the front. Maker: Australian Defence Industries -
Warrnambool RSL Sub Branch
TIE - RAAF (Blue Grey) Service Dress Uniform Jacket, Military Uniform, unknown
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) 1A Service Dress Uniform - Tie (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: unknown -
Warrnambool RSL Sub Branch
Shirt (short sleeve) - RAAF (Blue Grey) Service Dress and Working Dress Uniform, Military Uniform, 1992
This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) Service Dress Uniform - Shirt (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: Australian Defence Industies -
Orbost & District Historical Society
bullock yoke
Yokes like this one were key components used to control bullock teams. These teams were very important in Australia during the 19th century, hauling heavy loaded wagons of goods to remote settlements and rural produce to cities and ports over rough unmade roads. The bullocks were yoked together in pairs. Chains joined the yoked pairs. A heavy wooden bullock yoke with only one metal collar. One is missing. The fittings are iron. There is a small leather patch tacked on to one end. The yoke is made from a length of wood of roughly rectangular cross-section. It has been shaped to form curved depressions that allow it to rest across the necks of two bullocks and yoke them together. bullock-yokes transport -
Orbost & District Historical Society
black and white photograph, mid 1930s?
The front row appear to be Brownies (wearing berets) and the others Guides. Established in 1910, Girl Guiding is now one of the largest all female organisations in the world. It is designed for girls, young and not-so-young women to join and enjoy a program of informal learning, opportunities, fun, personal development and friendship. (ref. Girl Guides Victoria). This photograph reflects the history of this group which still operates in Orbost.A black / white photograph of three rows of girls in uniform. The front row of younger girls is sitting on the ground, the middle row is kneeling and the back row standing. There are three older women with the group. The photograph has been taken outside and on the left middle is a car.on back - "Orbost Guides & Brownies"girl-guides-orbost recreation-girls brownies-orbost -
Orbost & District Historical Society
whistle, C1930's
This whistle was owned by Nancye Wallace (nee Warren) and used in the girl Guides when she was a guide leader. Established in 1910, Girl Guiding is now one of the largest all female organisations in the world. It is designed for girls, young and not-so-young women to join and enjoy a program of informal learning, opportunities, fun, personal development and friendship. (ref. Girl Guides Victoria). This whistle used by an Orbost local reflects the history of this group which still operates in Orbost.A silver cylinder shaped metal whistle with a ring at the top for attaching to a belt. The whistle has a waisted tubular mouthpiece and the opposite end has a post mounted on a a metal ring for attachment to a lanyard.ACME GUIDE Made in Englandwhistle acme-whistle girl-guides -
Orbost & District Historical Society
belt, mid 20th century
This belt with badges was owned and worn by Nancye Wallace (nee Warren) as a Girl Guide leader in Orbost. The badges indicate that she took part residential camps as part of her membership. she continued in the Guiding movement as an adult leader.Established in 1910, Girl Guiding is now one of the largest all female organisations in the world. It is designed for girls, young and not-so-young women to join and enjoy a program of informal learning, opportunities, fun, personal development and friendship. (ref. Girl Guides Victoria). This whistle used by an Orbost local reflects the history of that organisation in Orbost.A brown leather belt with two badges attached. it has a silver metal buckle engraved with "Girl Guides association Be Prepared" and their emblem. One badge is a black and yellow Camp Kindaminda badge and the other a rectangular blue, green and gold Victoria Camp badge.Inside belt in black - N WALLACE ORBOSTbadges girl-guide-belt -
Orbost & District Historical Society
badges, 1950's -1960's
These badges are unused and were possibly available for those guides who took part in the various camps or became new members. they were designed to sew on to the guide uniforms or blankets. Nancye Wallace (nee Warren) was a Guide leader.Established in 1910, Girl Guiding is now one of the largest all female organisations in the world. It is designed for girls, young and not-so-young women to join and enjoy a program of informal learning, opportunities, fun, personal development and friendship. (ref. Girl Guides Victoria). These badges used by an Orbost local reflects the history of that organisation in Orbost.Twelve cloth badges. They are unused Girl Guide badges. two are round with a black background and inside a red circle is a wattle tree. One is round with a variegated fairy wren inside a red circle. One is rectangular with an eastern rosella inside a red circle. There are four smaller square shaped badges (cut from a strip) with gold, and red print on a blue background - " 1910 Girl Guides Jubilee 1960". One is a rectangular Camp Kindamindi badge and there are three rectangular strips, white with blue print "1st Orbost".badges-cloth girl-guides -
Orbost & District Historical Society
magazine, The Argus and Australasian Coronation Souvenir 24 May 1937, 24 May 1937
The Argus was a morning daily newspaper in Melbourne that was established in 1846 and closed in 1957 and was considered to be the general Australian newspaper of record for this period. Widely known as a conservative newspaper for most of its history. George VI became King after his brother, King Edward VIII, abdicated in 1936. The coronation of King George VI and Queen Elizabeth as King and Queen of the United Kingdom and the Dominions of the British Commonwealth and as Emperor and Empress of India took place at Westminster Abbey, London, on 12 May 1937. King George ascended the throne upon the abdication of his brother, King Edward VIII, on 10 December 1936, three days before his 41st birthday. Edward's coronation had been planned for 12 May 1937 and it was decided to continue with his brother and sister-in-law's coronation on the same date. This newspaper provides a detailed pictorial representation of the coronation of King George V1 in London on 12 May, 1937. The commonwealth countries, including Australia joined in the celebration. Saving an item dedicated to the royal family is typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family.A special edition souvenir newspaper which is a forty page pictorial commemorating the Coronation of King George VI. It is titled "THE ARGUS and AUSTRALIAN CORONATION SOUVENIR". On the front cover is a coloured painting /print of a horse parade/procession with banners printed by "ROWED". In the bottom right corner is the cost - 1/-. It contains a complete record of the ceremonies as well as large portrait photos of the royal family designed for framing. argus-newspaper george-v1 coronation -
Orbost & District Historical Society
nails on board, 1885
These nails were made for Walter John Mundy (1868-1944). Often imported nails made for the softer English and North American timbers bent when hammered against the harder colonial woods and so The Mundy family were farmers / settlers in the Snowy River area since c. 1880s. The original Mundy family moved to a land "selection" at Betebolong in the early 1880's from Buchan. It's only over the past century or so that the mass-produced nail has become an inexpensive and common way to join materials. These three iron nails were hand made by an early Orbost settler or blacksmith in the 1880's, using iron, forge and anvil. They are examples of the types of nails used in the 19th century. A rectangular, wooden(athel pine?) board with three hand-made nails glued in fan design to top left corner of section of floorboard. There is a short length of yellow cord attached for hanging. To the right of the nails is hand-written text in black. the nails have irregular shanks and hammer marks on both shanks and heads.right of nails - " Flooring & nails from Walter Mundy's house at Jarrahmond built C.1885. Still in use to this day."mundy-walter hand-made-nails -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th to early 20th century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid with Horn body and wood top.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Mid 20th Century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid’s is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Metal Fid with a wooden bulb on top metal body tapering to a point. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Early 20th century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern Fids are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Fid, Metal and Wood top with brass ferrule between the two.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Fid, Late 19th- early 20th Century
A Fid is a conical tapered wooden tool used for separating the strands of rope for splicing. They were a tool traditionally made of wood or bone used to work with rope and canvas in marlinespike seamanship. A Fid differs from a marlinspike in material and purposes. A marlinspike is used in working with wire rope, natural and synthetic lines also may be used to open shackles, and is made of metal. A Fid is used to hold open knots and holes in the canvas, and to separate the "lays" (or strands) of synthetic or natural rope for splicing. A variation of the Fid, the gripfid, is used for ply-split braiding. The gripfid has a jamming cleat to pull a cord back through the cord split by the fid's point. Modern fid's are typically made of aluminium, steel, or plastic. In addition to holding rope open to assist the creation of a rope splice, modern push fid's have markings for precise measurements in a variety of sizes of rope. The length of these fid's is typically 21 or 22 times the diameter of rope to be spliced. Fids have been used since sailing vessels were first used to travel the worlds seas the tool was invented to be used to splice rope and with working with canvas sails. A Fid is a sailors tool that has maintained its general design for hundreds of years and gives a snapshot into what the working life was like for sailors on board sailing ships for hundreds of years. The tool in its original design is still in regular use today by recreational sailors all over the world to splice and join lengths of rope.Wooden Fid with 3 rings around base of knob at the top of fid. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Flagstaff Hill Maritime Museum and Village
Tool - Sash Window Template, Late 19th to first quarter of the 20th century
A window sash is a type of moveable window frame that can slide, usually vertically. Unlike a window frame built into the wall, a sash allows glass window panes to slide up and down. The sashes fit inside a track that runs along another window frame attached to the house. Lead weights traditionally counterbalanced sashes, but today they are counterbalanced by springs. The traditional sash window is double-hung; this means it has two sashes that can both slide along a vertical track. However, some sash windows have a single moveable sash, and sashes may slide horizontally. A sash usually contains panels of glass, called lights. The lights are traditionally held together by a grid of bars. The sash window was developed in 17th century England and allowed for greater airflow. The sash window has had a significant impact on western architecture, used in nearly every style of English domestic architecture since the late 17th century. The subject item is a template used by the carpenter to mark or scribe the vertical track in which to window will slide up and down.An item used when sash windows were made by hand from the 17th to the early 20th century. The template allowed the carpenter to mark accurately a channel that was then planed and the Mitre to join the bars.Wooden Ovalo sash template with two screws each side. It has slot along length and has 45 degree bevelled edge each end.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden ovalo sash template, ovalo sash template, template, sash template, sash templet, window sash, tool -
Marysville & District Historical Society
Photograph (item) - Colour tinted photograph, Valentine Publishing Co. Pty. Ltd, The Road to Cumberland Valley, Marysville. No. 1, 1923-1963
An early colour tinted photograph of the intersection of the Buxton Marysville Road and the Marysville-Wood's Point Road.An early photograph of the Buxton Marysville Road and the Marysville-Wood's Point Road intersection. The Marysville-Buxton Road joins the Maroondah Highway which leads to Alexandra. The Marysville-Woods Point Road was originally part of the Yarra Track, constructed in the early 1860s to provide access between Healesville and the Woods Point Goldfields. Despite the steep terrain and engineering difficulties, the Yarra Track soon became a busy route used by pack horses, horse-drawn drays, and wagons. Today this sealed mountain road is a popular scenic drive between Marysville and Warburton. On the right of the photograph can be seen 'The Crossways Hotel' which is circa 1920 and one of the oldest buildings still standing in Marysville. 'The Crossways Hotel' survived the 2009 Black Saturday bushfires, through the efforts of the owner using buckets of water from the nearby Steavenson River. In the background can be seen the Poontawan Guest House which later became the Marysville Chalet Guest House which was on the site of the original Steavenson's Hotel. That guest house no longer exists and the Christ Church stands on the land where the guest house once stood. This photograph was published by the Valentine Publishing Co Pty. Ltd as a souvenir of Marysville.marysville, victoria, marysville chalet guest house, crossways hotel, christ church marysville, poontawan guest house, steavenson's hotel, valentine publishing co, souvenir, yarra track, wood's point road, mining, buxton-marysville road, marysville-wood's point road, maroondah highway, alexandra -
Marysville & District Historical Society
Photograph (item) - Black and white photograph, Valentine Publishing Co. Pty. Ltd, The Old Ford, Marysville No.9, 1923-1963
An early black and white photograph of the old ford in Marysville, Victoria.An early photograph of the bridge at the end of the main street in Marysville which is near the Buxton-Marysville Road and the Marysville-Wood's Point Road intersection. The Marysville-Buxton Road joins the Maroondah Highway which leads to Alexandra. The Marysville-Woods Point Road was originally part of the Yarra Track, constructed in the early 1860s to provide access between Healesville and the Woods Point Goldfields. Despite the steep terrain and engineering difficulties, the Yarra Track soon became a busy route used by pack horses, horse-drawn drays, and wagons. Today this sealed mountain road is a popular scenic drive between Marysville and Warburton. This photograph was published by the Valentine Publishing Co Pty. Ltd as a souvenir of Marysville.marysville, victoria, valentine publishing co, souvenir, buxton-marysville road, marysville-wood's point road, maroondah highway, alexandra, yarra track, mining -
Marysville & District Historical Society
Photograph (item) - Colour tinted photograph, Valentine Publishing Co. Pty. Ltd, The Old Ford, Marysville No.9, 1923-1963
An early colour tinted photograph of the old ford in Marysville, Victoria. This photograph was published by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.An early photograph of the bridge at the end of the main street in Marysville which is near the Buxton-Marysville Road and the Marysville-Wood's Point Road intersection. The Marysville-Buxton Road joins the Maroondah Highway which leads to Alexandra. The Marysville-Woods Point Road was originally part of the Yarra Track, constructed in the early 1860s to provide access between Healesville and the Woods Point Goldfields. Despite the steep terrain and engineering difficulties, the Yarra Track soon became a busy route used by pack horses, horse-drawn drays, and wagons. Today this sealed mountain road is a popular scenic drive between Marysville and Warburton. This photograph was published by the Valentine Publishing Co Pty. Ltd as a souvenir of Marysville.marysville, victoria, valentine publishing co, souvenir, buxton-marysville road, marysville-wood's point road, maroondah highway, alexandra, yarra track, mining -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Rose Stereograph Company, Cumberland-Cora Lynn Trip, Marysville, Vic. At the Meeting of the Waters, 1913-1967
A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of the Cora-Lynn waterfall at the Meeting of the Waters near the Cumberland Creek. The Whitehouse Creek joins the Taggerty River at the Meeting of the Waters which is near The Beeches Rainforest Walk. The ancient rainforest features groves of Myrtle Beech trees (Nothofagus cunninghamii) with many trees over 300 years old. POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Armadale, Victoria.cora lynn falls, waterfalls, cumberland valley, cumberland creek, marysville, victoria, p. 4938, rose series postcard, postcard, souvenir, the beeches, nothofagus cunninghamii, whitehouse creek, taggerty river -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Rose Stereograph Company, At the Meeting of the Waters, Cumberland-Cora Lynn Trip, Marysville, Vic, 1913-1967
A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph taken at the Meeting of the Waters near the Cumberland Creek. The Whitehouse Creek joins the Taggerty River at the Meeting of the Waters which is near The Beeches Rainforest Walk. The ancient rainforest features groves of Myrtle Beech trees (Nothofagus cunninghamii) with many trees over 300 years old. POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co./ Armadale, Victoria. With all Good Wishes/ for a Merry Xmas & a/ Happy New Year/ From/ The Robertson & James families/ Maude James Mrs De La Rue/ Russell St/ Northcotecora lynn falls, waterfalls, cumberland valley, cumberland creek, marysville, victoria, rose series postcard, postcard, souvenir, the beeches, nothofagus cunninghamii, whitehouse creek, taggerty river, p. 4977 -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, Rose Stereograph Company, Cumberland-Cora Lynn Trip, Marysville, Vic. At the Meeting of the Waters, 1913-1967
A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of the Cora-Lynn waterfall at the Meeting of the Waters near the Cumberland Creek. The Whitehouse Creek joins the Taggerty River at the Meeting of the Waters which is near The Beeches Rainforest Walk. The ancient rainforest features groves of Myrtle Beech trees (Nothofagus cunninghamii) with many trees over 300 years old. POST CARD Correspondence Addresscora lynn falls, waterfalls, cumberland valley, cumberland creek, marysville, victoria, postcard, souvenir, the beeches, nothofagus cunninghamii, whitehouse creek, taggerty river, southern cross series, 4938 -
Marysville & District Historical Society
Print (Item) - Steel Engraving, Nicholas Chevalier, Marysville, Victoria, 1874
An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea -
Glen Eira Historical Society
Album - Album page, "Ripponlea", Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea -
Glen Eira Historical Society
Album - Album page, Ripponlea, 192 Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria's first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 90 of Photograph Album with five photographs (one landscape and 4 portrait) of Ripponlea - two different views of the front entrance to the mansion, one of the front gates and two different views of the main residence.Handwritten: "Ripponlea" 192 Hotham Street [top right] / North [under top left photo] / Neg 255 Dec 1972 MAIN DRIVE [under bottom left photo] / Neg 238 8 OCT 1966 [under middle right photo] / 88 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque architectural style, rippon lea, taylor and fitts, land subdivisions, gardens, drives, vegetable gardens, orchards -
Glen Eira Historical Society
Album - Album page, Ripponlea, 192 Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 91 of Photograph Album with four photographs (two portrait and two landscape) of various external views of Ripponlea.Handwritten: SOUTH [under top left photo] / SOUTH [under top right photo] / WEST [under bottom left photo] / 91 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, polychrome bricks, lombardic romanesque style -
Glen Eira Historical Society
Album - Album page, Ripponlea, Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 92 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - views of entrance and left front of mansion.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 245 Dec 1972 [under top left photo] / Neg 246 Dec 1972 [under bottom left photo] / Neg 247 Dec 1972 [under bottom right photo] / 92 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, lombardic, romanesque, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque style, rippon lea, entrances