Black and white photograph of a magnolia in flower" Mid Sept '47. Magnolia soulangeana in front of Principal's Residence." THK581 13/1magnolia, principal's residence, e. m. gibson collection, magnolia soulangeana, trees

An information flyer regarding accommodation at Magnolia House in Marysville.An information flyer regarding accommodation at Magnolia House in Marysville.marysville, victoria, australia, magnolia house, accommodation, information flyer

Framed linocut depicting a Magnolia. You you can assist with information on this artist or artwork please use the comment box below.magnolia, linocut, printmaking, flora, available

Black and white photograph of Magnolia soulangeana in front of Principal's Residence395principal's residence, e. m. gibson collection, magnolia soulangeana

Black and white photograph of close up of Magnolia stellata flowers395/17Ae. m. gibson collection, magnolia stellata, flowers

Black and white photograph of "Magnolia stellata in the (Hilda Kirkhope) Rockery (AWJ's contribution)" T H Kneen. A W Jessep former Principal.395/16Ae. m. gibson collection, magnolia stellata, a w jessep, hilda kirkhope rockery

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Interview with Principal Mr. Littlejohn in "Woman's Day" September 7, 1970 p7. Photograph of magnolia with a glimpse of the Principal's Residence.woman's day, eric b. littlejohn, magnolia, principal's residence, students working outside

A report in the Southern Argus (S.A.) described the bride's dress as: Magnolia chiffon velvet fashioned the lovely wedding gown, made with square-neck bodice, and long tight cowl sleeves, and allied to a softly flaring skirt, which extended at the back into a graceful train. The veil of old Spanish lace (a gift from her aunt) was mounted on filmy magnolia, tulle, caught with an orange blossom halo. Full length Magnolia chiffon velvet wedding dress with square-neck bodice, and long tight cowl sleeves above a softly flaring skirt which extends at the back into a graceful train. The gown was worn by Elsie Lorance (Laurie) Jenkins at St Andrew’s Presbyterian Church, Mildura in 1934.The photo was taken when the dress was displayed at Villa Alba Museum in 2025 as part of an exhibition by Kew Historical Society of 'wedding fashion'.weddings -- mildura (vic.) -- 1934, st andrew’s presbyterian church mildura, elsie lorance (laurie) jenkins, fashion -- 1930s

Display for 1991 Centenary. (1) "Pic 5 Mass Spectrometer". (2) "Pic 6" Negative of students in the Library. (3) "Pic 7" Field Station. (4) "Pic 14" Magnolia. Already catalogued.displays, 1991, centenary, mass spectrometer, students, library, field station, magnolia

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Orange jumper with multicoloured heathered tweed effect, white stripe accent on neck, upper arm and sleeve cuffs, two patch pockets mounted on diagonal outlined in thread matching accent colour .2 Sample tags with manufacturing information, including sizes and colours available, as well as knit swatch samples in colourways Blue Tweed/Sky/Magnolia and Cream Tweed/Magnolia/Pine.1) [tag stitched into back neck] KATHRYN REGD PURE NEW WOOL/ SIZE 6 HEIGHT 120cm MADE IN AUSTRALIA .2) [blue sample label] STYLE 589/Pullover S.47. Wool Tweed. SIZES: 2 4 6 8 PRICE: $9.80 [amended to $10.75 in blue pen] $0.35 [handwritten in blue pen] $11.40 COLORS: Pink Tw/Ochre/Mag, Blue Tweed/Sky/Magnolia Cream Tweed/Mag/Pine. [Crossed out in black ink] March on Del.children's knitwear, children's clothing, clothing, knitwear, jumper, manufacturing, fashion textile production, machine knitting, heathered yarn, tweed yarn, flecked yarn, colourwork

Black and white photographs in an envelope marked O.H.M.S. Department of Agriculture, Burnley Gardens, E.1. All stamped,"Photograph by Publicity Branch Victorian Department of Agriculture." (1)-(2) B1687A-B Heavily pruned fruit tree. (3) B1688 Grafting tools. (4)-(8) B1689A-E Cutting techniques. (9)-(15) B1690A-G Joining graft techniques. (16)-(21)A-F Camellia graft. (22)-(26) B1692A-E Magnolia air-layering. (27)-(31) B1693A-E Plum root cuttings and scions and materials. (32)-(36) C668A-E Removing and planting rooted magnolia graft.department of agriculture, burnley gardens, pruning, fruit trees, grafting, tools, cutting, techniques, camellia, magnolia, plum, air-layering, approach grafting, whip and tongue grafting

Black and white photograph of the new planting in front of Administration Building. Note Magnolia grandiflora in the centre.6/31planting, administration building, e. m. gibson collection, magnolia grandiflora

Appears to be have been used for an exhibition.Colour photograph pasted on polystyrene board for an exhibition. Administration Building in Autumn. Magnolia grandiflora, Birch trees and MelaleucaCaption, "The Same View 1997."administration building, magnolia grandiflora, birch trees, melaleuca styphelioides, autumn

This book was produced by Patons and Baldwins and contains knitting patterns for womens garments.No. / 400 / Patons / KNITTING BOOK / No. / 400 / "MAGNOLIA" / See page 10 / P&B / WOOLS / 1'6d.knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

Photograph. Copy of a coloured photograph of Matthew Michael Moran. Bendigo Cemetery Chapel building in the background with two original Magnolia trees in place.photograph, person, matthew michael moran

Dark blue and teal tin-plate container, enameled on outside. Lid with hexagonal knob. Both lid and body decorated with coloured magnolia motif.Sticker on base 'Boy Blue association of ….. (part missing) Net Weight: 16 ozs. (including wrapp…) made in England by George W. Horner & Co. Ltd., Chester - Le - Street. County of Durham'. Printed underneath sticker 'Made in England'.containers, domestic, tin, container, storage, biscuits? magnolia

Invoice to Robin Boyd for a six berth cabin cruiser "Magnolia" from Wednesday 20 May to Sunday 24 May 1964, at the cost of ten pounds.

"The roads have been constructed - plantings at the base of the building are developing. Note Magnolia grandiflora selected by Mrs. Gibson to ornament the bare wall of classroom block." THKBlack and white photograph. View of Administration Building from Swan Street entrance. Student holding a bucket walking up the road. Plant Research Institute on the right.680/14 24 P4administration building, swan street, e. m. gibson collection, entrance

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Strip of knitted fabric samples showing the nine wool colour options for Kathryn knitwear for the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesKATHRYN WOOL WINTER 1980 COLOUR SWATCH RED BROWN RUST DEEP RED GREEN NAVY BLUE SHADOW SKY BLUE MAGNOLIAfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

Colour slides. Kath Deery Native Garden construction Mar 87, Magnolia grandiflora against Administration Building, Quad. 9 unidentified palms mostly without fronds Aug 87.native garden, palms, construction native garden, magnolia grandiflora, administration building, mud brick hut, kath deery

Wedding ceremony on 14th October 1950 at Congregational Church Kew1950's Magnolia satin, vee neckline with collar, button and loops to vee shaped waist. Long sleeves buttoned at wrist, coming to points. Skirt is ankle length at front. Back falls to a train.costume, female

The wedding dress was worn by Amy Wilton for her marriage at St John's Presbyterian Church. Photograph (media attached) shows bride wearing the dress.This wedding dress is socially significant because of its historic connection with Warrnambool through local families that still reside in the city and contributes to the understanding of the era. It has artistic and aesthetic merit and is a good example of fashion, style and design of the era. (refer catalogue Gorgeous Garb, Buda, Castlemaine p2 and The Australian Aesthetic Wedding Dress 1822 to 2011, Bendigo Art Gallery, p 5,10,12,17)A magnolia silk velvet wedding dress worn by Amy Wilton for her marriage to Ronald Wade (born 30 September 1912) on 19 April 1937 at St John's Presbyterian Church, Spence Street, Warrnambool.wade, wilton, wedding dress, 1937

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Strip of knitted fabric samples showing the 14 wool colour options for the ladies' line of Kathryn knitwear for the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesLADIES WOOL COLOR SWATCH WINTER 1980 RED BLACK MAGNOLIA OYSTER SILVER BLUE SHADOW NAVY TEAL GREEN BRACKEN RYE BROWN BURGUNDY DEEP REDfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

This dress was worn by Beatrice Coulson on her marriage to Archie Henry Robinson on 17.3.1945 at the Methodist church in Orbost.The wedding gown is provenanced and in good original condition and is of historic significance as an object directly related to the Robinson and Coulson families.A hand-made long magnolia slipper satin wedding frock with a high draped neck and full flared skirt. It has a train at the back. It has long sleeves , covered buttons on the back, shirring on the front and a decoration of white flower shapes on the front.coulson-beatrice robinson-archie wedding-dress costume

Contributor: T.H. KneenCardboard box of 108 35mm glass slides in metal frames made by "Gnome." Box labelled "Burnley Gardens Slides." Also 16 unused slides (1) Swan Street entrance c. (2) Orchid? b/w. (3) Nursery b/w. (4) Pasture area with man working b/w. (5) Draught horse working in the Orchard b/w. (6) Crop of corn in the Orchard c. (7) Magnolia c. (Magnolia x soulangeana). (8) Display of orange flowers c. (9) Lemon tree in the Orchard c. (10) Sign advertising 'Fruit Tree Pruning Demonstarion Sat. 2nd July (1949) c. (11) Jersey cow c. (12) Rock Point c. (13) Dahlias in the Orchard c. (14) Foundation Stone '28th August, 1946' c. (15) Felled Cypress tree 1951 b/w. (16) School truck in front of glasshouses and cacti b/w. (17)Administration Building completed but surrounded by rubble C.1949 c. (18) Plant Research Institute c. (19) Inside a glasshouse. c. (20) Administration Building c. (21) Group of female students dressed up for a function c. (22) Solenostemon (Syn. Coleus) in a glasshouse. (23, 24)Stock Matthiola incana. (25) Blossom in the Orchard c. (26) Orchard c. (27) Picking fruit in the Orchard c. (28) 2 female students holdong large bunches of poppies c. (29) Flowers growing in the Orchard c. (30) House - not Burnley c. (31) Students on an excursion c. (32) Staff member with Gladioli c. (33) Garden view - not Burnley? c. (34) Administration Building c. (35) Roses c. (36) Flowers in the Orchard c. (37) Draught horse working in the Orchard c. (38) Staff member amongst flowers in the Orchard c. (39) Garden view c. ((40) Blossom in the Orchard c. (41) Orchard c. (42) Flowers inside glasshouse c. (43) Mesembryanthemums in pots possibly in the nursery c. (44) Tree b/w. (45) Garden bed c. (46) Sign, 'Agrostology Branch, pasture Plant Research Field,' c. (47) Path to Principal's Residence c. (48) Irrigation in the Orchard b/w. (49) Cactus flowers b/w. (50) Garden view with T.H. Kneen children playing c. (51) (52) Cinerarias (now Pericallis x hybrida) in pots c. (53) Temporary building where the Grey Garden is now b/w. (54) Garden view b/w. (55) Unknown building b/w. (56) Person pruning in the Orchard c. (57) Students working in the Orchard c. (58) Swan Street with recently completed rock wall constructed by the Public Works Department b/w. (59) Lagoon paddock b/w. (60,62) Pavilion and new Administration Building before the Pavilion was removed b/w. (61) As (60) but viewed from a different direction c. (63) Plant c. (64) View through a window on the stairs in the Administration Building c. (65) Plant c. (66) Garden view of trees c. (67) Garden View b/w. (68) Blossom tree c. (69 )Garden view along path to Principal's Residence c. (70) Lagoon Paddock c. (71) Lagoon Paddock with cows b/w. (72) Inside a glasshouse b/w. (73) Entrance sign- Department of Agriculture Burnley Gardens, School of Horticulture & Primary Agriculture, Plant Research laboratory, Agrostology Branch, Fruit Preserving Branch c. (74) Plant Research Laboratory b/w. (75) Students on an excursion c. (76) Glasshouses b/w. (77) Garden view b/w. (78) Kniphophia c. (79) Hibiscus c. (80) Garden view c. (81) Dairy, Silo and dog b/w. (82) Irrigation in then Orchard b/w. (83) Garden view with magnolia c. (84) Flower plots in the Orchard c. (85) Pruning demonstration b/w. (86) Administration Building under construction c. (87) Rock Point c. (88) Mrs Kneen and Magnolia c. (89) Glasshouses c. (90) Sequoia sempervirens b/w. (91) Inside Administration Building c. (92) Luffmann Ponds b/w. (93) Sequoia sempervirend, Mrs Kneen and child c. (94) Garden bed in front of Sequoian sempervirens c. (95) Principals Residence b/w. (96) Poultry pens b/w. 1947 (97) Principals Residence b/w. (98) Student picking fruit from netted tree b/w. (99) Rock Point and Long Border c. (100) Administration Building under construction c. (101) Greenhouse b/w. (102) Rock Point c. (103) Flowers in the Orchard c. (104) Waterlilies in the Pond c. (105) Blossom tree c. (106) Hilda Kirkhope Rockery c. (107) Long Border c. (108) Plant Research Institute with flower border along drive c.burnley gardens, flower, nursery, pasture, draught horse, orchard, crops, magnolia, chicken coops, egg laying competition, glass slide

Programme of the Bendigo Operatic Society ''Show Boat'' Capital Theatre for six nights Commencing Nov 11th. Music & Lyrics by: Jerome Kern & Oscar Hammerstein II. Producer: Norman Lee. Cast in Order of Appearance: Peter Houston as Windy - Fred Trewarne as Steve Baker - Valerie McCracken as Queenie - Fred Lorenz as Pete - Gertrude Perry as Parthy Ann Hawks - Alfred Annison as Captain Andy Hawks - Annette Wilson as Ellie - Brian Brewer as Frank - Denis Cremin as Rubber-Face - Ruth Iredale as Julie La Verne - Vincent De Araugo as Gaylord Ravenal - Gerald Hayward as Vallon (The Sheriff) - Margaret Rule as Magnolia - Leonard Carr as Joe - George Steele Backwoodsman - Patricia Lyon ad Landlady - James Allen as Jake - Victor White as Max - Robert Nichols as Charlie - Aileen Simmonds as Lottie - Margaret Rule as Kim (Magnolia's Daughter). Synopsis of Story: The play is woven around a romance between Magnolia Hawks and Gaylord Ravenal, and the main scenes are associated with the Show Boat ''The Cotton Blossom'', on the Mississippi in USA.program, theatre, bendigo operatic society

Note by T.H. Kneen 20.02.1991, Early stages of landscaping for the new building. Note young Magnolia grandiflora planted to soften stark wall. The building comprised right to left Principal's office, office for school teaching staff, offices for Fruit Preserving Branch, Agrostology Branch and future Plant Breeding Branch (branches of the Department of Agriculture), four class rooms, Assembly Hall, Library and student change rooms. The old Pavilion was demolished earlier.3 copies black and white photographs. Very similar views of the newly constructed Administration Building. Planting around the building. Flag flying.principal's office, fruit preserving branch, agrostology branch, plant breeding branch, assembly hall, library, pavilion, planting, landscaping, magnolia grandiflora, staff room, class rooms, student change rooms