This matchbox is a souvenir / give away from the Wool Exchange Nightclub and Hotel, Corio Street, Geelong. Resaurants and hotels frequently give away items such as this for promotional purposes.Matchbox with removable lid. Contains 23 white tipped, wooden matches. One side of the matchbox is printed in black with an image of a sheep in white. The other side is white, with a cartoon image of a wolf in a sheepskin in black. One side of the matchbox is for striking matches, the other side is printed with text.THE / WOOL / EXCHANGE THE WOOL EXCHANGE / NIGHTCLUB / GEELONG VICTORIA THE WOOL EXCHANGE NIGHTCLUB / 44 Corio Street, Geelong, Victoria / (052) 21 3022, 21 3127 / HANNA / MATCH / CONTENTS / 25wool exchange hotel, geelong, matches, nightclub, hotel, souvenir

Black and white photograph of three young men in a nightclub.

Nightclub signage out frontblack and white photograph, original, unmounted, good conditionSK Beach

The card was souvenired by Peter James Dodd No 217842 in South Vietnam. Refer 2436.2P for his service history.Card, cream colour, black print re the Dong Khanh Hotel Restaurant - Night Club, South Vietnam. The rear is in Vietnamese.cards, advertising, hotel, nightclub

Old St Kilda Baths; daytime, shows nightclubs with signage affixed to frontage, cars parked immediately outside black and white photograph, original, unmounted, good conditionOld Sea Baths 100%

Old St Kilda Baths; daytime, nightclubs with signage affixed to frontage, cars parked immediately outside. 'Whisky - Go - Go', 'Afro Cuban Beat'black and white photograph, original, unmounted, good conditionLower Esplanade old St Kilda baths

Ticket to a cabaret at Earl's Court in aid of the St Kilda Red Cross Emergency Service on 26 October 1940. Earl's Court Theatre opened in the early 1930's at 17 The Esplanade, St Kilda. The building formerly housed the Lyric Theatre (from 1913-1922), which presented live entertainment and movies. After initially operating as a theatre, Earl’s Court became a ballroom and nightclub. Earl's Court Nightclub closed in the late-1980’s and a retirement home named Earl’s Court now stands on the site.Cream coloured card, printed in black and red on one sidest kilda red cross, earl's court theatre, lyric theatre, wwii fund-raising

The cathedral was to be built in Dana Street but only the base was constructed. It became known as Chapter House but later became the nightclub Hot Gossip. This sketch comes from Views of Ballarat by Niven & Co circa 1885.building, church, dana street, chapter house, hot gossip, views of ballarat

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Sargasso was a monthly newspaper of the Ballarat University College/University of Ballarat Student Union newspaper. Matthew Cuthbert worked on Sargasso from 1989 to 1991 when it was created on LC 2 Apple Mac, at that time one of the best Apple labs in the country. "The Ballarat Courier had four machine, we had a suite." (Matthew Cuthbert, 2022) Mathew Cuthbert was the founder of ‘Integration,’ an alterntive venue and nightclub, with local college band, ‘The Fat Thing’ . This club had a following of Grunge and New Indie music from the UK, namely Madchester, straight from the decks of the Chevron, Melbourne. He went on to study interactive Multimedia at Central Saint Martin’s, London. "It was a great time at Ballarat, a melding of arts, humanities, friendship, youth and a Bohemia of sorts." (Matthew Cuthbert, 2022)Seventeen copies of the Ballarat University College/University of Ballarat student newspaper 'Sargasso'.student union, ballarat college of advanced education student union, eureka, newspaper, ballarat university college, university of ballarat, student union, student association, michael hayes, carparking, painters and dockers, the saints, elliott goblet, len taylor, engineering, russell bell, michael thornton, fiona kleinitz, katie o'callaghan, darren parker, ambrose nicholls, tim jess, siva shankar, terry o'biren, computers, french nuclear tests, muroroa atoll, chris hutchinson, hodges robinson, ballarat international film festival, hugh jarse, fred penhall, catherine righetti, mathew cuthbert, vicki morrison, jerry goularas, john shapham, brian sardeson, peter glover, roger burnley, michael radman, jodie chivell, janell armfield, sexual harassment, east timor, andrew sutherland, metallica, 3bbb, rod harrison, robyne sterns, voluntary student unionism, campus conservation corps, melinda glisson, christie pepperell, paul harmes, azhar albazzaz, mat erbs, russell bell, michael thornton, loren gale, stephen degabrielle, floriene loder, john winkelman, lisa gleeson, hecs, higher education contribution scheme, robyne sterns, steve blomeley, melissa auchline, jane hyland, rob sitch, chrissie mildren, eric ong, hoodoo guros, keith lanyon, david fitzgerald, vince zankin, justin driscoll, brian welsh, chaplains, orion, pauline schenk, caitlin french, tom fermi, lisa gleeson, beth filipov, ballarat film society, mortlake buskers festival, australian university games, shivalli nanduri, david jones, merrion kent, stephen hubert, carly shaw, simon kennedy, david james, michael thorton, paul sproules, jacek olchowick, rape, autism, eureka stockade memorial trust, halls of residence, student residences, peter joyce, kath pengelly, sam drew, amie bird, antonino atzori (nino), michelle menz, mariela gledj, rugby union, hockey, sarag freeman

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis’ photograph Malcom Fraser, VFL Grand Final 1979 we see a young supporter shake hands with Liberal Prime Minister, Malcom Fraser. In the grand Australian tradition, politicians and PMs are active in the football sphere. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis capturing the nations love of the game. Donated by the Rennie Ellis Photographic Archive

This writing desk was used by the Warrnambool Bank of Australasia personnel and the date associated with it (through unproven Historical Society records) is 1859. The Bank of Australasia was established in Sydney in 1835. The Warrnambool branch of the Bank of Australasia was established in 1854 in a stone cottage in Merri Street leased for two years. The bank was next located in a leased building in Timor Street with new purpose-built premises at the corner of Timor and Kepler Streets opening in 1860. In 1951 the Bank of Australasia merged with the Union Bank to form the A.N.Z. Bank Limited. In 1970 the E. S. & A. Bank and the London Bank of Australia merged with the A.N.Z. Bank forming the A.N.Z. Banking Group Limited with the business transferring to Liebig Street. The old Bank of Australasia building was purchased by the Warrnambool City Council and later sold to a private buyer. It is now a nightclub. The writing desk may have been used in both the Timor Street leased building and the bank building at the corner of Kepler and Timor Streets. William Palmer was the Bank Manager when the desk would have been first used. This is a most significant item as it comes from the Warrnambool Bank of Australasia, the first bank to be established in Warrnambool and a major banking business in Warrnambool for nearly 100 years. The desk was handed over to the Warrnambool and District Historical Society by Clarrie Kempton, the A.N.Z. Bank Manager in Warrnambool from 1964 to 1971.This is a wooden writing desk, possibly made of walnut wood. The base is rectangular with a drawer with a brass handle at the base. From the base the desk slopes up to a triangular shape with a slightly curved top. The middle of the desk has a front opening with two doors with four brass hinges with a brass lock. There are six bolts, one with a slot missing. Inside the doors are inset 10 wooden slots of different sizes to hold papers, letters, ink, dockets etc. Also inside the doors, behind a transparent material, are spaces for the day, date and month. These numbers and letters were once able to be changed according to the date. The writing desk is in good condition but a little stained. ‘Tuesday’ ‘8’ ‘November’ bank of australasia, history of warrnambool, history of warrnambool

(From back cover): "The Weintraubs Syncopators, international musical celebrities of the 1930s, embarked on a four-year journey across Europe, Russia and the Far East in exile from the antisemitic ideologies of the German Third Reich. This band of mainly Jewish musicians arrived in Sydney, Australia, in 1937. The decision of some of them to stay brought them into conflict with the aggressively protectionist Musicians’ Union of Australia. They gained employment at a high-end Sydney nightclub but when war came, were forced to come to terms with a change in their status – from celebrities to enemy aliens. Denounced for alleged espionage activities in Russia, three were interned and the band broke up. In this major recounting of the experience of the Weintraubs Syncopators, Kay Dreyfus pieces together the complex personal, social and political forces at work in this story of migration at a time of insecurity, fear and dramatic conflict." The Tatura group of camps were built after the beginning of World War 2, and held prisoners of war (enemy military) and civilian internees (enemy nationals, regardless of political affiliation, either living in Australia or in Allied territories overseas). The Weintraubs Syncopators' members were just some of the civilians caught up in the conflict. Paperback book. Glossy black front cover, black & white photo of group of musicians. Blue & white text. Back cover glossy white, black & white photo group of men standing over bass drum labelled "Weintraubs Syncopators". 305 pages. Dewey no. 781.65092weintraub, camp 1, tatura, internment camps, civilian internees, jazz, jewish community, world war ii, musicians, stefan weintraub, horst graff

Ill, map, p.316.non-fictionAs the clock struck twelve to signal the start of 1942, Australians did not give the New Year their traditional noisy welcome. Regular events were cancelled, nightclub bookings were down and most people stayed in their blacked out homes. Clocks were put forward an hour for the start of daylight saving, as part of a war-time scheme to save power. All around the Pacific, Japan was making gains. They already occupied most of China; bombed Pearl Harbour, Guam and Wake; sunk the stars of the British naval fleet, the Prince of Wales and Repulse. They had landed in British Borneo, Hong Kong and the Philippines. This is the story of 1942, as told in first-hand accounts by the men and women in Australia and around the world. world war 1939-1945 - personal narratives - australia, soldiers - australia - diaries

Photographs of Bruce DoullGroup pf photos of Carlton Player Bruce Doull Career : 1969 - 1986 Debut : Round 5, 1969 vs South Melbourne, aged 18 years, 234 days Carlton Player No. 811 Games : 356 Goals : 22 Last Game : Grand Final, 1986 vs Hawthorn, aged 36 years, 16 days Guernsey Nos. 4 (1969-71) and 11 (1972-86) Height : 185 cm (6 ft. 1 in.) Weight : 87 kg (13 stone, 10 lbs.) DOB : 11 September, 1950 Premiership Player: 1972, 1979, 1981, 1982 Best and Fairest: 1974, 1977, 1980, 1984 Norm Smith Medal 1981 Carlton Hall of Fame (1987) Team of the Century Half Back Flank AFL Team of the Century Half Back Flank Carlton Legend By any measure, Bruce Doull was a champion. One the greatest defenders ever to have played the Australian code of football, he racked up a club record 352 matches for the Navy Blues (including six Grand Finals for four flags) in a 17-year career that stretched from 1969 to 1986. He was Carlton’s Best and Fairest four times, and a member of both the AFL and Carlton’s Team of the Century. It’s a curious fact, however, that we know comparatively little about him. An intensely private person, Bruce shunned publicity and rarely gave interviews. Instead, he let his football do the talking - by taking on and beating the best forwards in the game, week after week. Born Alexander Bruce Doull in Geelong in 1950, he was recruited by Carlton’s Under-19 squad in 1968 from the Jacana Football Club in Melbourne’s northern suburbs. In those early days he was a ruck-rover or half-forward, with a conservative haircut and a burning ambition to be a League footballer. The Blues were the reigning premiers, and the club’s roster was rich in talent across all three grades. Even so, Bruce played only a handful of games with the Under-19 squad (in guernsey number 53) before he was promoted to the Reserves and allocated the highly-prestigious number 4. Then, in only his second season at Princes Park, the shy youngster was selected to make his senior debut for Carlton in a home-ground match against South Melbourne in round 5, 1969. He sat on the reserves bench throughout the first half that afternoon, before being called on to replace the injured Alex Jesaulenko at half-time. Once on the field, Bruce made the occasion even more memorable by kicking his first career goal early in the third quarter, and Carlton held off the fast-finishing Swans to win by 25 points. Throughout 1969-70, Doull played another 14 matches as a winger, ruck-rover or half-forward. He was overlooked for a finals berth in both seasons, but mid-way through 1971, senior coach Ron Barassi told him that there was a regular spot available in defence if he wanted it bad enough, which Bruce certainly did. Given an opportunity to impress at half-back, his judgement, deceptive pace and strength in the air stood out, as did his remarkable poise and calmness under pressure. At 185 cm and 87 kg, Doull was no giant. Yet he soon demonstrated a remarkable ability to "play tall" in a key defensive role. And when the ball came to ground, he stayed in the contest because he never lost his concentration. His all-round agility was exceptional - making him equally as effective in a pocket or on a flank - and physical pressure rarely unsettled him.show_image.php?id=34774 In his 53rd senior appearance for Carlton - the 1972 VFL Grand Final - Doull stamped himself as a rising League star by subduing Richmond’s champion centre half-forward Royce Hart on the biggest stage of all. The Tigers kicked a huge 22.18 that afternoon, but Carlton booted 28.9 in the highest aggregate decider ever played, and collected an eleventh VFL Premiership. Hart was kept to just a handful of possessions and two goals for the match, so the media was soon clamouring for information about the Tiger star’s conqueror. Bruce complied, but he was uneasy in the spotlight and from then on was rarely available. At the same time, Doull had become the latest folk hero at Princes Park. Supporters loved his no-nonsense approach, his courage and his consistency. In keeping with his shy nature is the story of his playing numbers. More and more during his first three seasons in number 4, he was uncomfortable in the locker room because of the attention that was focused on him, in the presence of some of the club’s modern greats like Serge Silvagni (number 1), John Nicholls (2), Kevin Hall (3), Syd Jackson (5) and Garry Crane (6). Therefore, at the conclusion of the 1971 season he was granted a request to switch to guernsey number 11, which had become available due to the retirement of another idolised Carlton defender in John “Ragsy” Goold. With his new number, Bruce shifted only a few metres down the line of lockers, but for him, anywhere further from the limelight was appreciated. By his mid-twenties, Doull was sporting lavish sideboards and hair to his shoulders, which contrasted somewhat with his shy nature, and made him hard to mistake on the field. He won Carlton's Best and Fairest award in 1974, and followed up again in 1977, 1980 and 1984. In 1979 he collected his second Premiership medal when the Navy Blues knocked over Collingwood in a hard-fought, controversial Grand Final remembered for Wayne Harmes’ brilliant solo effort to seal the match. Two years later, Bruce’s finest hour arrived when the Blueboys broke myriads of Magpie hearts again to win the 1981 Grand Final by 20 points. Impassable all day at centre half-back, Doull beat four opponents, and was a worthy winner of the Norm Smith medal as Best on Ground. Twelve months on from that triumph, Bruce collected his fourth Premiership medal when the wounded Blues upset their other traditional rival, Richmond, for the '82 flag. By then nicknamed the “Flying Doormat” by TV commentator Lou Richards - in deference to his balding pate, shaggy beard and hair, kept under control by a navy blue or white headband - Doull led a Carlton defence that was rock-solid in the Blues' 18 point win. Although he would not have been overly concerned, plenty of good judges were gobsmacked afterwards when Bruce missed out on his second Norm Smith medal, which went instead to Richmond's Maurice Rioli. From 1976 to 1981, Bruce was a fixture in the Victorian State team, and earned a recall in 1984 at the age of 33. He was a remarkably durable and suffered a debilitating injury only once in his career, in 1985 – shortly after he had set a new games record at Carlton of 329 matches to succeed John Nicholls. He wrenched a knee at training a few days later, and ended up playing only three senior games for the season. Eventually, Doull made 356 appearances for Carlton, including 162 in succession to set another club record. He was never reported by the umpires for foul play, and widely respected for his fairness in playing the ball rather than the man. A former team-mate, Brent Crosswell once wrote: "Doull's game has a moral purity about it, and that is why opponents have always found it extremely difficult to be unfair to him. It would have shamed them." Carlton Coach of the Century David Parkin was equally as complimentary when he described Bruce as “the best team player I ever coached.” Doull’s final game for Carlton came in the sixth Grand Final of his career, when Hawthorn demolished the Blues in a one-sided 1986 decider. Star Hawks full-forward Jason Dunstall kicked six goals on the 36 year-old veteran in that match, but in the context of Bruce’s career as a whole, it was barely a blemish. He may have been a shy and reserved individual in public, but when Bruce Doull pulled on the famous Old Dark Navy Blue, he became one of the true legends of VFL/AFL football. Just one year after his retirement, Bruce was elected to the Carlton Hall of Fame. In September 1996 he was named on a half-back flank in the AFL Team of the 20th Century, and in 2000 filled the same spot in Carlton's Team of the Century. Then, in June 2014, during celebrations marking Carlton's 150th year of VFL/AFL competition, Bruce was named as one of the five greatest Blues of all time, alongside John Nicholls, Stephen Kernahan, Alex Jesaulenko and Stephen Silvagni. Footnotes On the way to victory in the 1982 Grand Final against Richmond, Doull was involved in a celebrated incident that stopped the game and both amused and infuriated the 107,536 fans at the ground. During a tense third quarter, Carlton was in front by one point when a naked female dashed out into the middle of the MCG. Wearing nothing but a Blues scarf, 18 year-old Helen D’Amico made a bee-line for Doull, and tried to embrace him before she was intercepted by his team-mate Wayne Johnston and disturbed match officials. With the crowd in uproar, she was bundled into an over-sized cardigan and marched off the ground, as Carlton went on to upset the Tigers by 18 points. It later emerged that Ms D’Amico had been working as a strip-tease artist at an Adelaide nightclub, and her streak was a publicity stunt. Milestones 50 Games: Semi Final, 1972 vs Richmond 100 Games: Round 22, 1974 vs St Kilda 150 Games: Round 3, 1977 vs St Kilda 200 Games: Round 14, 1979 vs Fitzroy 250 Games: Round 18, 1981 vs Geelong 300 Games: Round 19, 1983 vs St Kilda 350 Games: Round 19, 1986 vs Collingwood Career Highlights 1972 - 5th Best & Fairest 1972 - Premiership Player 1973 - 8th Best & Fairest 1974 - Robert Reynolds Memorial Trophy - Best & Fairest Award 1975 - Arthur Reyment Memorial Trophy - 2nd Best & Fairest 1976 - Arthur Reyment Memorial Trophy - 2nd Best & Fairest 1977 - Robert Reynolds Memorial Trophy - Best & Fairest Award 1979 - 7th Best & Fairest 1979 - Premiership Player 1980 - Robert Reynolds Memorial Trophy - Best & Fairest Award 1981 - 4th Best & Fairest 1981 - Norm Smith Medal 1981 - Premiership Player 1982 - 5th Best & Fairest 1982 - Premiership Player 1983 - 2nd Best & Fairest 1984 - Robert Reynolds Memorial Trophy - Best & Fairest Award 1984 - Best Clubman Award Links Articles: Bruce Doull Speaks | Yesowooloonko - You Beauty! | Moving Guernsey Numbers - UP! | Carlton's Magnificent Seven Footage Interview after the 1981 Grand Final: https://www.youtube.com/watch?v=uzAqqk2u6y0 Toyota Bruce Doull Advertisement: https://www.youtube.com/watch?v=Zk_yu4t8vYQ Driving with Sam Pang: https://www.youtube.com/watch?v=WNwUaqVYBDo Bruce Doull vs Glenn Archer: https://www.youtube.com/watch?v=yVmHGMLFVqg Blueseum: Playing Career of Bruce Doull | Carlton Legends | Career Breakdown | Doull's Blueseum Image Gallery Video 1972 1973 1976 1977-79 1980 1981 1982 1983 1984 1985 InterviewBlack & White photos