The Ballarat School of Mines was a predecessor institution of Federatin University Australia. The scrap books were kept by the librarians and related to topics of interest to the Ballarat School of Mines, its students and its staff. 17 December 1954 - Ballarat Junior Technical School Headmaster's Report 05 February 1925 - Ballarat School of Mines Museum closure 25 February 1925 - War Trophies Museum 06 May 1925 - Ballarat's Museum. Where is it? Some Interesting Facts 14 May 1925 - White Flat Reserve 21 June 1928 - Ballarat School of Mines Procession 14 March 1929 - Mr A.D.R. Galloway - An Australian Abroad - Tragic end. 1929 - Technical Education 17 October 1929 - Agricultural Engineering 15 February 1930 - Ballarat School of Mines Student Association 20 February 1930 - 61s Annual Meeting of the Ballarat School of Mines 02 June 1930 - R. Young in Belgium and visits battlefields including Hill 60. 19 February 1931 - School Hostel Suggested 14 April 1931 - Frank Pinkerton Obituary 15 October 1921 - Life at Mt Isa (E. Loveland) 18 February 1932 - Discussion on Teachers College (Ballarat Teachers' College) 11 July 1931 - Phoenix Model Locomotive donation to the Ballarat School of Mines 06 May 1932 - The Mt Isa Country 11 Oct 1932 - Death of F.W. Alsopp (former SMB student) 21 January 1933 - Education In Victoria: Will a New Era Open 28 September 1933 - New Teaching System Explained by the Minister 17 February 1934 - Trip to New Guinea (A.F. Heseltine) 19 April 1934 - Early Ballarat - Address by Nathan Spielvogel 30 August 1934 - Ballarat Junior Technical School Tennis Court 23 August 1934 - Welding plant and Battery 17 June 1935 - Men about Town - A.F. Heseltine 21 June 1935 - Vocational Guidance 16 July 1935 - Ballarat School of Mines (history) 03 August 1935 - Men About Town - William H. Middleton 10 August 1935 - A.E.C. Kerrballarat school of mines, martha pinkerton, scrap book, a.w. nicholson, john lynch (junior), mount lyell, leslie evans, leslie blake evans, herald shield for athletics, ballarat school of mines museum, motor mechanics' classes for ladies, farm engineering, villers bretonneux carvings, trengrove, museum, port pirrie, j.i. simpson, reuben s. russelll, ballarat technical art school, charles harvey, elliott gower, la gerche, c. curnow, applied art, macroberston scholarship, ballarat school of mines procession, rag, vale park tree planting, smb ball, pottery classes, delineascope, mica smith scholarship, james peart, burma mnies, smb excursion to western australia, kalgoorlie, elsie mckissock, war trophies, warwick smith, spencer street bridge, war museum, richard j. young, alfred mica smith obituary, reginald callister, john rowell, sewerage installation, h.h. smith, w.h. middleton, olive scott, dolly whitehead, vale park, ballarat war museum opening, repatriation classes, sewerage at the ballarat school of mines, australian coals, j.p. ellsworth, yallourn, w.g. walker, reunion, norfolk island pine, mica smith memorial, jessice smith, harry fern, t. henderson, bhp, john adam, ols students' association, l.b. curnow, laura crouch, signwriting, excursion, port pirrie excursion, albert potter, pearl fricke, technica school sports, percy trompf, ballarat school of mines battery, albert mclean, a.d.r. galloway, alan douglas richard galloway, r.j. young, alan ludbrook, r. timpe, ballarat ironworkers and polytechnic association, h. jolly, carpentry, harold jolly, millinery classes, phoenix model locomotive, s.j. morgan, r.d. bannister, juvenile industrial exhibition, w.h. shaw, j.c. winds, f.h. davis, h.r. worland, w.t. magee, l. george, l. balhausen, white flat oval, resue from yarrowee creek, e. berriman, ballarat teachers' college, reg mcconnell, mount lyell co, munro reaper, munro reaper model, weaving classes, mervyn trimmings, briquette dust, edna findlay, jean rogers, n. mccallum, jessie glass, classroom ventilation, art metal, charles fenner, levi molyneux, olice scott, poster competition, kerr grant, w.h. steane, h. caddy, colvin smith, claude creelman, robert colins, stan hillman, n.c. heathcote, egg collection, john alexander, nornie gude, charles deane, graham hopwood, roswald john dart, max wilson, new battery, jess hopwood, william middleton, a.e.c. kerr, hand weaving classes, m. martin, a.h. leeson, mona rogerson, lorna bailey, prospectors classes, edwin robinson, kalgoorlie vist, railway locomotive

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party", designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to form a group and be able to demonstrate a number of wool crafts in at least five different items. The covering of the cake was woven by Anneli Rickards, the plate woven by Jean Inglis, Mary Donnan and Val Ingeme made and assembled the floral trimmingsagricultural shows handicrafts textile art knitting weaving, geelong handweavers and spinners guild inc., spinning - hand, felting, weaving, ingeme, mrs val inglis, jean - geelong handweavers and spinners guild inc. rickards, anneli - geelong handweavers and spinners guild inc. donnan, mary - geelong handweavers and spinners guild inc., melbourne, victoria, agricultural shows, handicrafts, textile art, knitting

"Federaton Flora" was created by 13 members of the Geelong Handweavers and Spinners Guild Inc for the centenary of Federation in Australia. It won 1st prize in the Australian Sheep and Wool Show, Bendigo, 2000.Australian Sheep and Wool Show, Woolcraft Competitionhandicrafts, geelong handweavers and spinners guild inc., felting, hand spinning, hand knitting, weaving

"Federaton Flora" was created by thirteen members of the Geelong Handweavers and Spinners Guild Inc for the centenary of Federation in Australia. It won 1st prize in the Australian Sheep and Wool Show, Bendigo, 2000.Large handmade doll featuring white felted wool with wooden disc joints and orange woollen, possibly hand spun, hair. The facial features have been formed with white stitching, eyelashes are embroidered with black cotton, the lips have been painted on. The doll is dressed in a pale green short sleeved dress, of hand spun wool, buttoned at the back and lined with pale green silk. It is embroidered at the lower front with pink heath, the floral emblem of Victoria. She is wearing a cream woollen hand knitted underwear set consisting of singlet and pantaloons. The pantaloons have a fine hand knitted edge. Her shoes are of dark green felt with red kangaroo paw decoration. A green knitted cape with red and dark green waratah decoration is tied around her neck and tied to her left arm is a small pale felted bangle. handicrafts, geelong handweavers and spinners guild inc., felting, hand spinning, hand knitting, weaving, bendigo, australian sheep and wool show, federation, flora, doll

This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale

Weaving is a craft activity that has been a part of many day centres. In this image, a blind woman sit in front of a loom, holding the threads, her lips slightly pursed, as if in conversation. Another woman stands beside her and looks down at the work, her hand holding the weaving slightly forward as she looks at the stitches.royal victorian institute for the blind, day centres

Clothing. Red polyester fabric, lined with white silky polyester lining, and hand-stitched, open weave fabric, possibly cotton to help hold shape and body. Symetrical shaping to a point on broad and narrow ends of tie. Cut on the cross to give stretch when tying the tie.RODNEY by John Webster, MADE IN AUSTRALIA.costume accessories, male, marong municipal band uniform tie

Part of the Zakrzewski Collection of spinning wheels donated to the National Wool Museum by Mr Wlodzimierz Zakrzewski. For many years, Mr Zakrzewski collected, researched and repaired spinning wheels from all over the world. This wheel is from Northern France-Flanders and was used for spinning flax to make the fine thread needed for lace making. It dates from the 19th century and bears the names Thirion and Villotte. Research by Mr Zakrzewski indicates that Villotte was a tiny village in the north of France and that Thirion is probably the name of the maker. This wheel was purchased from Margaret and Joan Mellor who were well known in Melbourne as teachers of hand spinning and weaving.Part of the Zakrzewski Spinning Wheel collection.Thirion / Villottehandicrafts - history flax, spinning wheels, highlights of the national wool museum: the zakrzewski spinning wheel collection - exhibition (28/07/2001 - 02/12/2001), zakrzewski, mr wlodzimierz, handicrafts - history, flax

Blue and white pattern bands with woven figures resembling historical Perugia towels (tovaglie perugine) or similar patterned weaves from the 16th to 17th centuries. Perugia towels were a highly specialized textile tradition from Umbria, Italy that flourished during the Late Middle Ages and the Renaissance. The aesthetic impact was so massive that Renaissance masters like Leonardo da Vinci painted Perugia tablecloths into their works - for example "The Last Supper". Symbolism and motifs characterised medieval and Renaissance bestiary - the Griffin was the mythological symbol of Perugia. Majolica fuseruola beads (or spindle-whorl bead) originate from Deruta, Italy, mainly date from the late 19 th to mid 20 th century. The Latin phrase SEMPER IDEM translates to 'Always the same' or 'Ever constant, unchanging'. Giuditta Brozzetti Museum Atelier Housed inside the deconsecrated Church of Saint Francis of the Women (built in 1212) in Perugia. Founded in 1921 by Giuditta Brozzetti to revive Umbrian hand-weaving, the workshop is now run by her great-granddaughter, master artisan Marta Cucchia (representing four consecutive generations of women weavers). Uses functional, antique 18th-century wooden pedal looms and 19th-century Jacquard looms (including 1836 Vincenzi-patented models). 23.10.2026 Thank you for contacting us and giving us the opportunity to see such a beautiful piece! In the early 20th century, there was a major revival movement for Umbrian textile art. This bag was likely created by one of the many workshops that emerged during that period. Unfortunately, as we are the last remaining atelier still in operation—and many of the others closed a very long time ago—we have no way of verifying exactly which workshop produced it. Based on certain details, it might have come from the Ceccucci workshop, though we cannot state this with certainty. The design appears to depict the Griffin—the symbol of our city. Since the Griffin was rarely portrayed from a frontal perspective during the Middle Ages, I would attribute this piece to the 20th-century revival; it seems to be an Art Nouveau interpretation of a Gothic motif. The simple, tone-on-tone weave pattern found above and below the decorated section is known as "Occhietto" ("little eye") and is characteristic of the Perugian tradition. The entire item appears to be made of 100% cotton. The Brozzetti Team Perugia Indigo and cream cotton bag, woven with Griffin motifs, from Perugia, Italy. The simple, tone-on-tone weave pattern found above and below the decorated section is known as "Occhietto" ("little eye") and is characteristic of the Perugian tradition. It features tassels which hang from lower corners, made of many knotted bobbins attached to two Majolica fuseruola beads which has SEMPER IDEM around the circumference.weaving, italy

This creative tapestry, woven in 1988, documents a thousand years of Warrnambool history. It hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women, with the help of Museum staff, researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is ten meters long and seventy centimetres high. The beautiful creation took seven months to create. The tapestry introduces the seafaring theme of Flagstaff Hill Maritime Museum and Village, and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling in the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. Interestingly, before being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left. All materials in the cotton and wool tapestry, including dyed wool, were prepared for a cost of $33,000. The project was supported by local philanthropic groups.The tapestry is a hand worked creation by local women. It shows a visual display of a thousand years of Warrnambool's history, connecting the land and sea to people and events.Tapestry of the early history of the Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand-dyed. Handmade in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, tapestry, warrnambool history, warrnambool textiles, wall hanging, weave, south west victoria history, south west victoria timeline, indigenous people, early settlement, whaling, james grant, nicholas baudin, cotton, wool, dyed yarn, handmade, hand-dyed yarn

This item is one of a collection of clothing items that belonged to the Stephenson family who lived at 22 McCracken Street, Kensington, Melbourne. Matthew Stephenson (1861 – 1943) who had grown up on the Bendigo goldfields and shifted to Melbourne in the early 1900’s was a train driver and later, a fireman with the railways. His wife Elizabeth Jane (Betsy) Wigley (1865 – 1953) also grew up on the goldfields around Majorca and Bendigo. They married in 1885 in Bendigo. They had two daughters – Ethel Evelyn Stephenson (1886 – 1956) and Lillian or Lila (1891 – 1977) who were milliners and dressmakers and who continued to live in the family home after the death of their parents. The family are recorded as living at 22 McCracken Street, Kensington, as early as 1914. It is not known who made or owned the clothing that makes up this collection but as it appears to be from the late Victorian and early Edwardian era however the vest was probably made by one of the three ladies of the house, for their husband and father, Matthew Stephenson. During W.W.2, a local Warrnambool couple (Meryl and Tony Everard) boarded with them – Tony was in the airforce training paratroopers to jump into (and survive) enemy territory and his wife Meryl worked in the Methodist baby Home. The Everards developed a close friendship with the Stephensons and were responsible for clearing out the house (and finding this clothing collection) after Lila died in 1977. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by Matthew's wife or daughters). Men's suits in the early part of the twentieth century were predominantly three piece, consisting of a jacket, vest (or waistcoat) and trousers made from matching fabrics. Some men liked to wear a watch attached to their waistcoat with a fob chain. This item is an example of clothing worn by men on special occasions, in the late 19th and early 20th century.A man's waistcoat with cream cotton weave front pieces and cream cotton lining and back. The left front features five machine worked horizontal buttonholes and one vertical buttonhole (for a fob watch) and two inset pockets. The right hand side has five corresponding stud holes and one inset pocket. The studs or buttons are missing. The lining and back of the waistcoat are made from a plain cream cotton fabric. The back also features a cotton strap with a two pronged metal buckle.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, vest, waistcoat, needlework, sewing, stephenson family, man's waistcoat

The fringed tablecloth is an example of a domestic item brought to Australia by early settlers in the Western District of Victoria as a home comfort.The fringed tablecloth helps tell the story of the arrival of European settlers and the small, light home comforts they brought with them to maintain a meaningful connection to home.Fringed and lined square tablecloth. The front is hand embroidered on brown loose weave fabric, the back a pale yellow polished cotton fabric. The edges on the back have been turned and machine-stitched. Hand-stitching has been used to join the top to the back and to add the fringe around the edges. The embroidery uses tapestry wool in cream, yellow, brown and green tones. The style is possibly an example of European folk-style hardanger embroidery technique. An inscription on a pink ribbon is sewn onto the reverse.“S F . 31303 OLIVER YEA - - [undecipherable]”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, tablecloth, fringed tablecloth, embroidered tablecloth, european embroidery, hand sewing, domestic object, handmade, textile, silk thread, geometric design, vintage, long-stitch, zigzag design, decorative, home décor, domestic linen, table linen, hardanger embroidery, hardanger

This quilt or wall hanging is entirely hand-made by noted Orbost district craftsperson, Elsa Williams (nee Elsa Beavis, b 27-5-1924, d 22-6-2007) who lived on a property at Wombat Creek near Orbost in the 1980s. Elsa had her own sheep, spun and dyed the wool, and crafted this quilt. For about 20 years, Elsa was a member of a weaving group started by Gwenda Bland at Lake Tyers. Elsa wove carpets for her own home at Wombat Creek. Gwenda Beavis was given this quilt by Elsa in 2007 and it was often displayed around the district, receiving many comments due to the quality of the workmanship and design. This quilt has been made from hand-spun and hand-dyed wool. The background is Tricot crochet squares, and the coloured decorations of Australian animals and plants have been embroidered onto the tricot squares. This items is significant because it shows excellent creativity and quality of workmanship. It also represents an era in Australia when hand-weaving, spinning, and dying wool became very popular as hand-crafts. A hand-made woollen quilt, cream background, with images of Australian flowers, plants, birds, and animals embroidered onto the cream background. elsa williams, handcrafted quilt, australiana design, spinning and weaving

This table linen was bought from the Indian hawker, Budda Dean, by Henry Powell for his daughter, Ruth, to start her "glory box" on her 18th birthday. Selina Jane Powell and Henry James Powell had daughters, Ruth (married Roy Cope), Ethel (married Dan Locke). The family came to Orbost from Bega around 1902.This item is an example of a fine piece of linen commonly used in the first half of the 20th century..1 is a square table cloth. The centre is linen and the edges are crocheted in cotton. It appears to be hand-made. .2 is a rectangular tea towel or cloth. It is of a huckaback weave with a crocheted edge. .3 is a square cotton table napkin with a scalloped edge. .4 is a square cotton table napkin with a scalloped edge.linen tableware powell-henry-james handcraft

Made by Mrs McKeown (nee Ford) and used in her house.This item is an example of a handcrafted item and reflects the needlework skills of women in the early to mid 20th century. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes,A small pillow sham, square shaped, made from a coarse weave cream fabric front and a backing of bright yellow fabric. Four sprays of pink & yellow flowers with green leaves are embroidered onto the front. Around the edge is a border of drawn thread work which allows the bright yellow backing to show through.table-linen home-manchester hand-embroidery

A hand-woven rectangular shaped cotton cloth with symmetrical designs. It is white, red, yellow, blue and green and there is a white fringe at each end.handcraft cloth weaving

This basket was hand-made by Mrs Tiny Solomon, an Aboriginal woman, in Orbost.This item is an example of an Indigenous style hand woven item of the very early 20th century. A shallow hand-woven grass basket. It has a flat bottom and a handle across the top.basket aboriginal weaving handcraft

Over 150 years old in 1970. Donor,Joe Herman was a blacksmith, painter and signwriter in Orbost. Local footballer. Married Elsie Winchester This item is an example of a handcrafted item and reflects the needlework skills of women in the families of the early settlers.Cloth of fine hand-woven linen. all white with fine hem.linen manchester-table-linen handcrafts weaving

Donor, Joe Hermann was a blacksmith, painter, signwriter ,married Elsie Winchester. Hand woven table napkin. White. Damask print. Linen. Print is floral.J Cartledge 18napkin manchester table-linen handcrafts weaving

Founded in 1856, the Mission adopted, as its symbol, a flying angel inspired by a verse from the Book of Revelation (14:60) “Then I saw a flying angel in mid-heaven, with an eternal gospel to proclaim to those on earth, to every nation and tribe, language and people” The incorporated name of the Mission changed in 2000 and became the Mission to Seafarers, Victoria, the logo was also re-designed.This flag was most likely issued by the Central Mission in the UK or possibly ordered from Australia .This flag shows a former design of the Flying Angel carrying a Bible and the former name of the organisation before it was changed in 2000 to Mission to Seafarers. Flag or banner white printed on dk blue open weave 'scrim' flag with tough woven white nylon hem at left edge whit incoporates a woven length as tie and a wooden peg to secure to flagpole hoist cord.Features a white winged flying angel with outstretched arms, one hand holding an open book with lettering above and below ( see title details).See image; also on verso small folded black label secured to back of white hem edge with woven details of maker: (Tuttle...) see detail image.flag, flying angel, bible

The Mission adopted, as its symbol, a flying angel inspired by a verse from the Book of Revelation (14:60) “Then I saw a flying angel in mid-heaven, with an eternal gospel to proclaim to those on earth, to every nation and tribe, language and people” The incorporated name of the Mission changed in 2000 and became the Mission to Seafarers, Victoria, the logo was also re-designed.This flag was most likely issued by the Central Mission in the UK or possibly ordered from Australia .Flag or banner white printed on dk blue open weave 'scrim' flag with tough woven white nylon hem at left edge whit incoporates a woven length as tie and a wooden peg to secure to flagpole hoist cord.Features a white winged flying angel with outstretched arms, one hand holding an open book with lettering above and below ( see title details).See image; also on verso small red label secured to back of white hem edge with woven details of maker: (Tuttill...) see detail image.mission to seamen, mission to seafarers, flag, flying angel

The Percy Uebergang family lived at Tooram Park, Allansford from 1912 until 1992. Percy and Myrtle Uebergang's children were twins, Ray and Joyce born in 1926 who lived at Tooram Park until their deaths, Ray in 1986 and Joyce in 1992. Neither Ray nor Joyce married and following the death of her brother Joyce set up the Ray and Joyce Uebergang Foundation which supports the local community. This photograph is part of the collection of items given into the care of the Cheese World Museum. Percy Uebergang and Myrtle Wright were married on 3 September 1924 at Koroit. The attendants were Miss Ida Wright and Carl Uebergang. Newspaper reports of the wedding and welcome home reception are held in the collection. Myrtle's cousin, Florence Trigg, recalls that the wedding was held at 6am at Koroit in order to catch the train to Melbourne at 7am. This photograph was taken following their return. Percy and Myrtle are the parents of Ray and Joyce Uebergang. Black & white photograph of the wedding party of Percy Uebergang and Myrtle Wright and their attendants. The bride is wearing a calf length suit trimmed with a lace collar and shoes with lattice weave uppers. She has a horseshoe on her left arm and a small handbag in her right hand. The bridesmaid is wearing calf length long sleeved dress featuring a shawl collar and a sash at the waistline. She is carrying a handbag. The men are wearing 3 piece suits and lace-up boots, shirts with winged collars and ties.allansford, uebergang, percy, wright, myrtle, wright, ida, uebergang, carl, marriages, trigg, florence, koroit

This doll was a highly treasured toy for a girl. The amount of wear and tear given to this doll indicates the great attachment to and comfort that its owner had with it. This doll could have been on a farm or cattle property in the Kiewa Valley rather than in the town.Due to the lack of social activities in the valley during the period, self amusement at home and limited interaction outside of the valley would have been this dolls prime role for its owner. The time between the two World Wars was one of recession and limited funds outside that required for survival. This is clearly demonstrated by the painted face and home made repairs to the body and limbs Porcelain/ceramic doll with painted face features. Half ceramic arms and legs. One leg missing.one arm loose Stitched dress with lace bodice hand made Body padded with cloth and fine wood shavings filler. Scarf lace weavedoll, porcelain, toy, lace, girls' play

This dress was possibly manufactured by a local seamstress in the period circa early 1900.The quality of the dress suggests that the lady who wore it was from middle to upper range of the socio-economic structure within the Kiewa ValleyHistorically this item dating in the early 1900s was made by a very competent seamstress (lack of manufacturer's label). It demonstrates that the conditions of relative isolation within the Kiewa Valley was not extreme and that local manufacture of clothing items were available and at a very high level of quality. This item demonstrates that the hand made era was alive and an essential part of community/social adhesion within the valley.Beige knitted dress, sleeveless ladies pin weaved running from waist to bottom. Fine pin weave from bust to waist. Two mother of pearl buttons fastening opening front neck 11cm from neck to upper breastno manufacturer's label suggesting manufacturer was a very talented local seamstress costume, woollen, knitted, dress, female clothing

Historically this ledger not only details the legible hand writing of this era but also the day to day commercial activity in this region. The neatness and the diligence of those who were required to pen the information was a requirement by all who were in commercial trade. Emphasis on neatness was ingrained in students at a young age. This era was well before general typewriters and computers. Generally all students of commerce required an accuracy in writing and arithmetic. Neatness and order were a selection requirement This item clearly identifies the Kiewa Valley as having a substantial financial hub to accommodate the various commercial enterprises within a rural environment Circa 1880's. Although Kiewa Valley had mining, agriculture, cattle and sheep it was also composed of a mixed society, encompassing all levels of society at that period. It identifies some family farming history in the specific year of 1897Leather reinforced corner covers and spine. Remaining book front and back covers are protected by blue weaved cloth. The covers are very thick cardboard, in layers. Missing front index pages C,E - 0,Q,T,U,V,XSpine of book marked in faded golden print "Ledger". First page in hand writing "Ledger No. 5" and underneath handwritten "Commenced Jan 1st !897" After the index pages each page (double sided) has a page number stamped in black and is 6mm highledger, early bookkeeping, local history, commerce circa 1890

The horse bridle was owned by Heather May (Piper) who participated in many regional shows throughout her years. It is unclear how Heather acquired the bridle from W. Cattlin but 'she was generally interested in good riders and horses and saw the unique opportunity to acquire it'. (Steven May, Heather's son, email 2.4.25). The bridle was originally owned by W. Cattlin and it was used in 1913 at the Bendigo Show in a riding event. W. Cattlin was involved in many coursing events in the early 1900's. W. Cattlin is mentioned in a Bendigo Advertiser article 6th October, 1904, when he was competing at the Rochester Show. Leather bridle with metal bit and fine basket weave material reins. Card attached to bridle with hand written note: ' Bridle used by Mr. W. Cattlin at 1913 Bendigo Show/ now Heather Piper'.bendigo show, w. cattlin, bridle, leather, fabric, heather may

This is a silk picture woven by the highly acclaimed French jacquard loom woven tapestry maker Neyret Freres. The scene is derived from a painting by Spanish artist Mariano Alonzo Perez (1853-1930). This style of weaving is referred to as a Stevengraph, named for their original creator, Thomas Stevens (1828-1888), a 19th century weaver from Coventry, England. Neyret Freres began manufacturing textiles in 1823, and are still in operation today. Silk embroidery in a decorative gilt frame. The scene depicts a group of women taking a fencing lesson, under the guidance of a male teacher. Two women are pictured pointing sabres at each other at the centre of the image, while four other women look on at the right of the image. The teacher is shown on the left hand side of the image, holding a sabre in his right hand which is pointing downwards so that the tip of his sabre is resting against the floor. All figures in the image are wearing Victorian era dress. There is a sticker for Gibson's Auctioneers attached to the bottom right hand corner of the front of the artwork. Two small stickers for Gibson's Auctioneers are attached to the back of the artwork, as well as a sticker referencing the framer of the work and a shipping sticker for International Art Services. Two d-rings and a wire fitting are attached to the back of the artwork for hanging.