Light-coloured wood and gold oval frame Coloured print of a portrait of Queen Victoria, aged 80, 1899, by Heinrich von Angeli.

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

Queen Victoria was born at Kensington Palace, London, on 24 May 1819. She was the only daughter of Edward, Duke of Kent, the fourth son of George III. Her father died shortly after her birth and she became heir to the throne because the three uncles who were ahead of her in the succession - George IV, Frederick Duke of York, and William IV - had no legitimate children who survived. Warmhearted and lively, Victoria had a gift for drawing and painting; educated by a governess at home, she was a natural diarist and kept a regular journal throughout her life. On William IV's death in 1837, she became Queen at the age of 18. Queen Victoria is associated with Britain's great age of industrial expansion, economic progress and, especially, empire. At her death, it was said, Britain had a worldwide empire on which the sun never set. In the early part of her reign, she was influenced by two men: her first Prime Minister, Lord Melbourne, and then her husband, Prince Albert, whom she married in 1840. Both men taught her much about how to be a ruler in a 'constitutional monarchy, in which the monarch had very few powers but could use much influence. Albert took an active interest in the arts, science, trade and industry; the project for which he is best remembered was the Great Exhibition of 1851, the profits from which helped to establish the South Kensington museums complex in London. Her marriage to Prince Albert produced nine children between 1840 and 1857. Most of her children married into other Royal families in Europe. Edward VII (born 1841), married Alexandra, daughter of Christian IX of Denmark. Alfred, Duke of Edinburgh and of Saxe-Coburg and Gotha (born 1844) married Marie of Russia. Arthur, Duke of Connaught (born 1850) married Louise Margaret of Prussia. Leopold, Duke of Albany (born 1853) married Helen of Waldeck-Pyrmont. Victoria, Princess Royal (born 1840) married Friedrich III, German Emperor. Alice (born 1843) married Ludwig IV, Grand Duke of Hesse and by Rhine. Helena (born 1846) married Christian of Schleswig-Holstein. Louise (born 1848) married John Campbell, 9th Duke of Argyll. Beatrice (born 1857) married Henry of Battenberg. Victoria bought Osborne House (later presented to the nation by Edward VII) on the Isle of Wight as a family home in 1845, and Albert bought Balmoral in 1852. Victoria was deeply attached to her husband and she sank into depression after he died, aged 42, in 1861. She had lost a devoted husband and her principal trusted adviser in affairs of state. For the rest of her reign she wore black. Until the late 1860s she rarely appeared in public; although she never neglected her official Correspondence, and continued to give audiences to her ministers and official visitors, she was reluctant to resume a full public life. She was persuaded to open Parliament in person in 1866 and 1867, but she was widely criticised for living in seclusion and quite a strong republican movement developed. Seven attempts were made on Victoria's life, between 1840 and 1882 - her courageous attitude towards these attacks greatly strengthened her popularity. With time, the private urgings of her family and the flattering attention of Benjamin Disraeli, Prime Minister in 1868 and from 1874 to 1880, the Queen gradually resumed her public duties. In foreign policy, the Queen's influence during the middle years of her reign was generally used to support peace and reconciliation. In 1864, Victoria pressed her ministers not to intervene in the Prussia-Denmark war, and her letter to the German Emperor (whose son had married her daughter) in 1875 helped to avert a second Franco-German war. On the Eastern Question in the 1870s - the issue of Britain's policy towards the declining Turkish Empire in Europe - Victoria (unlike Gladstone) believed that Britain, while pressing for necessary reforms, ought to uphold Turkish hegemony as a bulwark of stability against Russia, and maintain bi-partisanship at a time when Britain could be involved in war. Victoria's popularity grew with the increasing imperial sentiment from the 1870s onwards. After the Indian Mutiny of 1857, the government of India was transferred from the East India Company to the Crown, with the position of Governor-General upgraded to Viceroy, and in 1877 Victoria became Empress of India under the Royal Titles Act passed by Disraeli's government. During Victoria's long reign, direct political power moved away from the sovereign. A series of Acts broadened the social and economic base of the electorate. These acts included the Second Reform Act of 1867; the introduction of the secret ballot in 1872, which made it impossible to pressurise voters by bribery or intimidation; and the Representation of the Peoples Act of 1884 - all householders and lodgers in accommodation worth at least £10 a year, and occupiers of land worth £10 a year, were entitled to vote. Despite this decline in the Sovereign's power, Victoria showed that a monarch who had a high level of prestige and who was prepared to master the details of political life could exert an important influence. This was demonstrated by her mediation between the Commons and the Lords, during the acrimonious passing of the Irish Church Disestablishment Act of 1869 and the 1884 Reform Act. It was during Victoria's reign that the modern idea of the constitutional monarch, whose role was to remain above political parties, began to evolve. But Victoria herself was not always non-partisan and she took the opportunity to give her opinions, sometimes very forcefully, in private. After the Second Reform Act of 1867, and the growth of the two-party (Liberal and Conservative) system, the Queen's room for manoeuvre decreased. Her freedom to choose which individual should occupy the premiership was increasingly restricted. In 1880, she tried, unsuccessfully, to stop William Gladstone - whom she disliked as much as she admired Disraeli and whose policies she distrusted - from becoming Prime Minister. She much preferred the Marquess of Hartington, another statesman from the Liberal party which had just won the general election. She did not get her way. She was a very strong supporter of the Empire, which brought her closer both to Disraeli and to the Marquess of Salisbury, her last Prime Minister. Although conservative in some respects - like many at the time she opposed giving women the vote - on social issues, she tended to favour measures to improve the lot of the poor, such as the Royal Commission on housing. She also supported many charities involved in education, hospitals and other areas. Victoria and her family travelled and were seen on an unprecedented scale, thanks to transport improvements and other technical changes such as the spread of newspapers and the invention of photography. Victoria was the first reigning monarch to use trains - she made her first train journey in 1842. In her later years, she became the symbol of the British Empire. Both the Golden (1887) and the Diamond (1897) Jubilees, held to celebrate the 50th and 60th anniversaries of the Queen's accession, were marked with great displays and public ceremonies. On both occasions, Colonial Conferences attended by the Prime Ministers of the self-governing colonies were held. Despite her advanced age, Victoria continued her duties to the end - including an official visit to Dublin in 1900. The Boer War in South Africa overshadowed the end of her reign. As in the Crimean War nearly half a century earlier, Victoria reviewed her troops and visited hospitals; she remained undaunted by British reverses during the campaign: 'We are not interested in the possibilities of defeat; they do not exist.' Victoria died at Osborne House on the Isle of Wight, on 22 January 1901 after a reign which lasted almost 64 years, then the longest in British history. Her son, Edward VII succeeded her. She was buried at Windsor beside Prince Albert, in the Frogmore Royal Mausoleum, which she had built for their final resting place. Above the Mausoleum door are inscribed Victoria's words: "Farewell best beloved, here, at last, I shall rest with thee, with thee in Christ I shall rise again." Source: https://www.royal.uk/queen-victoria This picture captures Queen Victoria in her later years. It may well have been painted to commemorate her Golden Anniversary in 1887, or her Diamond Anniversary in 1897.Picture, print, reproduction of a drawing or photograph of Queen Victoria. She is wearing a dark-coloured dress, white headdress and a diamond necklace and earrings. On her left shoulder is the Royal Order of Victoria and Albert, awarded to female members of the British Royal Family and female courtiers. There are four grades or classes of this Royal Order as well as the Sovereign's Badge, which is exclusive to her. Also across her left shoulder, is a blue riband representing the Order of the Garter. The picture is in a medium-coloured timber frame with a white string across the width at the rear. The label says it was framed by Hoy Art, Warrnambool. The signature of the Queen is on the picture but is not obvious since the picture has been re-framed."HOY ART / PICTURE FRAMING / 48 Kepler St, Warrnambool 3280 / Phone (055) 62 8022" Signature (hidden by new framing) "Victoria H.R.S."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, picture of queen victoria, queen victoria, the royal order of victoria and albert, the order of the garter, hoy art

This print was an 1885 Christmas gift from the publishers of the Australian Town and Country Journal to their subscribers. At that time Queen Victoria was 65 years old although she may not have been that age when the portrait was painted. The print shows Queen Victoria’s signature in the bottom right corner. It cost sixpence per copy and operated from 1870-1919. The Australian Town and Country Journal was printed weekly, on Saturdays, in Sydney. The edition on December 26, 1885, contained 51 pages. The Journal claimed “Circulation Ten Thousand Copies, Greater than any other Weekly in Australia.” The frame of the print has a solid back of thick timber panels and is crudely made. The edges of the frame appear to have an underlying plaster base that has been covered with a layer of wood. The corners are reinforced with metal protectors. The subject of the print is Queen Victoria, Queen of the United Kingdom of Britain and Ireland. She was born as Princess Alexandrina Victoria of Kent on May 24, 1819. She became Queen on June 24, 1837 when King William IV died. She married Prince Albert of Saxe-Coburg and Gotha on February 10, 1840. Queen Victoria lived and reigned until her death on January 22, 1901, at age 82 years, after reigning for sixty-three years and seven months. This portrait is significant historically for its origin as an inclusion the Australian Town and Country Journal, a late 19th century Australian weekly newspaper, in circulation for almost fifty years. The portrait gifted to the newspaper’s subscribers is historically significant as an example of the connection between the people in the British Colony of Australia, with the value and respect held for the Queen of the Colony. The frame of the portrait, of solid and protective construction, shows the value that the owners placed on this portrait.Print behind glass in a brown wooden frame; coloured print of a portrait of Queen Victoria, made in watercolours. The Queen is wearing a blue sash, crown, and white ribbon pinned to the sash along with a cameo brooch and Royal Emblem. The portrait has an oval floral border of roses in pastel colours. Text is printed outside the border, as a title above and a signature below, in the lower right corner. The back of the frame is made of heavy timber panels with holes for attaching wire. The timber frame is over a white layer of soft substance, perhaps plaster. "Presented to the Subscribers of the Australian Town and Country Journal, December 25th 1885" “Victoria R”flagstaff hill, warrnambool, flagstaff hill maritime village, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, queen victoria, princess alexandrina victoria of kent, portrait of queen victoria, australian town and country journal, presented to subscribers, 1885

Discovered in One Tree Hill Park, Bendigo whilst gold prospecting.Copper medallion etched with portrait of Queen Victoria on front, bushman on back. Front: “BRITISH TRANSVAL WAR 1899 - 1902” Back: “SUCCESS TO AUSTRALIAN IMPERIAL BUSHMEN 1902”medallion, memorabilia, boer war, bushmen

Queen Victoria diamond jubilee celebratory medals were presented to district school children and to the Shire of Buninyong president 18th June 1897Bronze medal with Victoria's coat of arms on the front and portraits of Queen Victoria on the rear.Front- Shire of Buninyong, F.E. Sides, J.P., President, Victoria 1897 Rear- Queen Victoria's 60th Year of Reign 1837 to 1897shire of buninyong, queen victoria, medal

Print, portrait of Queen Victoria wearing a blue dress and sash. Printed by Alf Cooke, Queens Printer, Leeds, UKflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Portrait of Queen VictoriaBlack and gold metal frame with glass. Silver badge on front "6BN RVR SGT's Mess"6BN RVR SGT's Mess5/6 rvr, officer's / sergeant's mess

This photograph probably depicts the ladies of the Harbour Lights Guild packing the Jottings from our Log, the newsletter created in 1906. The lady standing at the back and looking at the others is Miss Ethel Godfrey.Small black and white photograph depicting 8 ladies in a room, standing and sitting near a large table and packing small white parcels. In the background a fireplace with several paintings and photographs in frames hanging on the wall (amongst them a portrait of Queen Victoria).lhlg, siddeley street institute, parcels, umbrella, jottings from our log, goldsmith album, ethel augusta godfrey 1861-1935

CEMA Art Collection Previously located in History HousePortrait of Queen Victoria depicting her torso and head. She looks to her right and is shown in an almost profile view. Dressed in black with a white collar, she wears a blue and white band in her hair. She wears a small gold earring, black choker with gold locket and a brooch with a man's portrait. The work has a gilded frame with some decoration and exposed canvas.Front: J.A.BRIGGS Queen Victoria, 1838-1901 Back: Painted by J A Briggs 1897queen victoria, 1800s, portrait, portrait painting, female, female portrait

Presented to Australian school children on the opening of the First Federal Parliament in May 1901. The opening of Parliament was attended by the Duke and Duchess of Cornwell and York. The Australian states became a Federation during the reign of Queen Victoria, however by the time Parliament opened, Edward VII had ascended the throne.Gilt bronze medal, in shape of shield, with crown at top. Obverse of medal has portraits of Queen Victoria and King Edward VII, and wording "Aust. Commonwealth Est 1 Jan 1901 / 63D. of Victoria, R. I. / First Parliament Opened May 1901-1st of Edward V11". Reverse of medal has portraits of the Duke and Duchess of Cornwall and York, and wording "Opening of the First Federal Parliament / TRH The Duke and Duchess of Cornwell and York / Melbourne, May 1901".medals, australian federation 1901, parliament of australia

In 1895 artist Gordon Coutts was commissioned by Elizabeth Harding (Mrs. Silas Harding), a wealthy pastoralist, to paint this portrait of Prince Albert. The portrait was completed by 1896 and is a copy of an original by German artist Franz Xaver Winterhalter (1805-1873). In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Queen Victoria’s appreciation of Winterhalter began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. There are a number of notable differences in the original Winterhalter work and this painting. The local artist Coutts has changed the colour of the Prince’s cloak from deep blue/black to red (perhaps as a result of working from a black and white photograph). Other differences include extra satin shoulder ribbons, a simplification of the furnishings, notably the floor, and an inexact representation of the medallions worn; collars of the Order of the Garter, Bath, and the Golden Fleece. The painting is framed to match the official copy portrait of Queen Victoria, with the coat of arms of Prince Albert of Saxe-Coburg and Gotha, fixed atop the frame in place of the royal crown.Framed portrait, oil on cotton, of Prince Albert. The Prince Consort wears the robes of the Order of the Garter, holds a Field-Marshal’s baton, and is posed in front of a curtain and colonnade. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. The coat of arms that sits on top of the frame is a combination of carved timber and composition elements.Signed lower right corner in red brushpoint: ‘after Winterhalter / By Gordon Coutts / 1896’.albert, prince consort of victoria, queen of great britain, 1819-1861, winterhalter, franz xaver, 1805-1873, coutts, gordon (1865-1938)

An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire.POST CARD This Space may be used for Correspondence. The Address only to be written he (rest obscured by postage stamp) Date stamp / MAR 4 Orange postage stamp with portrait depicting Queen Victoria 95686 To Bessie/ Hope you are enjoying yourself/ I see there was some excitement/ at the Marysville Races/ Kind regards and/ best wishes/ & love from all of/ us at 384/ Punt Road/ & William Miss Bessie Taylor/ The Chestnuts/ Marysville Vicmarysville, victoria, nicholas john caire, watts river, fernshaw, 95686, postcard, souvenir

An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of the Watts River at Fernshaw. The original photograph was taken by Nicholas John Caire.POST CARD This Space may be used for Correspondence. The Address only to be written he (rest obscured by postage stamp) Date stamp / MAR 4 Orange postage stamp with portrait depicting Queen Victoria 95686 To Bessie/ Hope you are enjoying yourself/ I see there was some excitement/ at the Marysville Races/ Kind regards and/ best wishes/ & love from all of/ us at 384/ Punt Road/ & William Miss Bessie Taylor/ The Chestnuts/ Marysville Vicmarysville, victoria, nicholas john caire, watts river, fernshaw, 95686, postcard, souvenir

Commemorative medal made for the 1897 Diamond Jubilee of Queen Victoria. Two portraits of Queen Victoria on the face, one as a young girl, the other an older, veiled woman. The medal originally had the words "Queen Victoria's 60th Year of Reign 1837 to 1897" around the perimeter of the face, however the medallion is so worn that the words are barely visible. The reverse has the Australian Coat of Arms, within a diamond shape. The words "Diamond Jubilee / Australia's Celebration" are around the perimeter (barely readable due to wear). A small crown is above the Coat of Arms and the date "1897" is below it, these are also barely visible due to wear. The medallion appears to have been of gilt plate, however only small areas of gilding are left on the reverse side. Found in the ground by Geelong Bottle Club Prospectors.Round bronze coin, small hole at top, with two faces of Queen Victoria on obverse, and the Australian coat of arms on reverse.On face: "Victoria - 1837-1897". Reverse: "1897-Diamond Jubilee Celebration Australia".queen victoria, diamond jubilee celebrations, medals

Music book, "The Victoria Music Books, Pieces for advanced performers for the pianoforte", By various composers. The cover has a cream background with bold black printing; down the left side are Baroque-style grotesques enclosing a portrait of a young Queen Victoria.Olive M. Walter

The 1888 Centennial International Exhibition, celebrating a century of Australian settlement, surpassed even the grand scale of the1880 Melbourne International Exhibition. It attracted over two million people, but the Victorian government had to spend £250 000 on it, ten times the amount estimated. The exhibition had a distinctively imperial focus, and a greater emphasis on culture than in 1880, particularly on music and painting (1). (1. https://collections.museumsvictoria.com.au/items/273830) S.D. Gadd was appointed Curator of Parks and Gardens in 1874 an lived in residence in Rosalind Park. He resigned in 1905 and moved to Melbourne where he died in 1917. Mr Gadd was a prominent member of the Masonic Lodge. It is not clear why he was awarded this medal.The bronze medal of the Centennial International Exhibition awarded to S.G. Gadd. Obverse - Portrait: bust of Queen Victoria in left profile wearing a crown, veil and 3 medals. Reverse - Field: Victor's wreath consisting of leaves and acorns of British oak and the leaves and acorns of the wattle. The oak and wattle were tied together 'by a true-lover's knot, 'symbolizing the unity and affection between the mother country and the colony'. Southern Cross inside surrounded by a legend. (https://collections.museumsvictoria.com.au/items/273822) Obverse - Motto: Centennial International Exhibition Melbourne Reverse - Legend: (Latin) Artibus Dignis Honor Insignis (To the deserving arts, distinguished honor) (Mint) left: Melbourne Mint. (Date) Lower Centre: MDCCCLXXXVIII. (Engraver) Right: Stokes & Martin S.C. Edge - Plain, impressed with S.G. Gadd ESQ.centennial international exhibition melbourne 1888, s.g. gadd, rosalind park, city of greater bendigo medals

This large hat box was owned by Miss Katherine Robertson (now deceased). It was sold by Drews, a leather and travel goods shop in Melbourne, and has been made as good quality, sturdy travel luggage. It has its own leather luggage label buckled to the handle and there are remnants of labels on the base of the hat box, signifying that it has indeed been used as luggage. A hat box such as this one is made to protect, store and transport head wear. Hat boxes became popular in the 19th and early 20th century when hats were a part of the modern fashion. Inside the hat box is a brown paper wrapper with two Great Britain postage stamps attached. Both have the portrait image of Queen Elizabeth II (1) orange 1/2d (2) green ten pence. These stamps belong to the Wildings series and were issued 1952-1954. The wrapper was sent by J McGregor in Glasgow, Scotland to Katherine Robertson in Sale, Victoria. The postmark stamp shows it was sent in 1955. The paper had once been folded around something rectangular in shape, perhaps a book. The hat box was recently found by Archie’s daughter, niece of Katherine, when she was looking for something else in the ceiling of her home. The hat box had been there, with the brown paper wrapper inside, for about 30 years, forgotten by the family. There are no family members remaining now to tell the full story. ABOUT MISS KATHERINE ROBERTSON The Robertson family emigrated from the Isle of Wight and settled in Woorndoo, Western Victoria, Australia. Katherine Robinson was the 10th child of 13 children, born in 1906 and lived until 1995. The youngest child in the family was a boy named Archibald (Archie) who was born in 1911. His daughter is the donor of the hat box. Katherine went to school at Woorndoo and later became a trained teacher. She taught in many places, amongst them were Alexandria, Geelong, Sale, Stawell and Ballarat. People said “She was a school teacher 24 hours a day!” She was insistent on being called Miss Katherine Robinson, and no-one dare call her a shortened name in any way, not Kate, or Katie or even Kathie. She spoke with the authority of a teacher throughout her life, never asking but always giving her requests as orders. Miss Katherine Robinson remained single all her life. She bought items that were the best quality and workmanship, which gives reason for the strong and well-travelled hat box. She enjoyed going on trips and travelled the world twice. While on her journeys Katherine would knit Fair Isle patterned socks using fine 4 ply wool because she “Didn’t believe in wasting time!” Katherine’s niece remembers being in Melbourne at Station Pier, seeing her Aunt off on one of her journeys. She recalls the atmosphere and the colourful streamers in the air that celebrated the special occasion. Katherine travelled on the Oriana and Fair Star lines. ABOUT DREWS Drew’s, Leather Goods Specialists, was located at 70 Swanston St, corner of Queen’s Walk, Melbourne, at the time that this hat box was sold by the company. Queen’s Walk was constructed in 1889. It was a lavish ‘L’ shaped arcade that connected Swanston Street to Collins Street and was home to many specialist stores. In the 1950’s Drews address was advertised as Collins Street. In the late 1960’s Queen’s Walk was purchased by the Melbourne City Council and demolished in the early 1970’s, to be replaced by the Melbourne City Square. This very sturdy and good quality hat box is an example of travel luggage available to and used by the Victorian population of Australia in the early to mid-20th century. The retailer of this hat box, Drews, operated from premises on the corner of Swanston St and Queen’s Walk in Melbourne where many other specialist shops were located. Queen’s Walk was only in existence for around 70 years, 1889-late 1960, before it was demolished to make way for Melbourne’s City Square. Hat box, large, deep round shape with a straight section where lid is joined on at the back. Dated early to mid-1900’s. Brown coloured, textured heavy weight card box with folding metal carry handle, three clip closures for lid, metal hinge on back of lid. Purple maker’s label inside lid - DREWS, Leather Goods Specialists, Melbourne. Leather luggage tag has two rectangular cut-outs on front, attached with buckle strap. Underside of lid has two supporting leather straps attached to base. Base has inner cardboard liner around most of circumference. Contained inside are two leather straps with metal buckles. Label remnants, red, attached under base. Hat box was owned by Miss Katherine Robertson. Also inside is brown paper wrapper with three hand written addresses, in blue nib pen, and two attached Great Britain postage stamps, Queen Elizabeth II (1) Orange stamp, QE II, ½d (2) Green stamp, QE II, ten pence. It is postmarked [19] 55. Purple label has printing "70 SWANSTON STREET / Cr. QUEEN'S WALK / DREWS / LEATHER GOODS / SPECIALISTS / MELBOURNE". Wrapper inside has two hand written addresses (1J) Mrs. K. F. Robertson / 33 Mcalister Street / Sale / Victoria / Australia” (2) “from / J Mc Gregor / 15 Napier’s Hall St / Glasgow N W / Scotland” Postmark “ - -em 55” & “CLAS-“ OR “GLAS-“ [GLASGOW] flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, luggage, hat box, hatbox, hat storage box, hat travel case, hat case, bandbox, drews melbourne, drew’s melbourne, drew’s handbags, travel goods, travel luggage, hat box suitcase, hat box luggage, 1952-1954 gb postage stamps 1/2d orange queen elizabeth ii, katherine robertson, archibald (archie) robertson of woorndoo, j mcgregor

One of a series of Mission to Seamen postcards produced in the immediate post-war and post WW2 period.Visual record of the club area of Mission to Seafarers, 717 Flinders Street, Melbourne in the 1950s (before Queen Elizabeth's corporation) ready for the dances.Black and white gloss postcard depicts the central club space. Taken facing stage with flowers on stage, a drum kit and a piano. Curtained backdrop with sixteen chairs in front of the proscenium. Shows dance floorboards and fan-shaped window above doorway on far left wall.Printed on back: 'POST CARD/CORRESPONDENCE ADDRESS ONLY/' . Stamp location is top right and is indicated by the word 'KODAK' on four sides.club, stage, mission to seafarers, seamen's mission, mission to seamen, main hall, dancing, events, curtains, royal portraits, king george vi, drums, piano, chairs, music, band

One of a series of Mission to Seamen postcards produced in the immediate post-war and post WW2 period. Visual record of the club area in the 1950s (before Queen Elizabeth's coronation) ready for the dances.Black and white gloss postcard depicts the central club space facing stage with flowers on stage, a drum kit and a piano. Curtained backdrop with sixteen chairs in front of the proscenium. Shows dance floorboards. Note: Possible heater at far right of picture frame.Printed on back: 'POST CARD/CORRESPONDENCE ADDRESS ONLY/' . Stamp location is top right is indicated by the word 'KODAK' on four sides.stage, curtains, mission to seafarers, seamen's mission, main hall, dancing, events, concerts, band, flowers, drums, piano, paintings, royal portraits, flinders street, melbourne, mission to seamen, wood floor, writing room, heater, stairs, chairs, king george vi, queen mother

This book is an 1810 third edition copy of Walter Scott’s poem, ‘The Lady of the Lake’. It is notable for its illustrations of the drawings of Richard Westall (1765-1836), an English painter and illustrator and Queen Victoria’s drawing master. Westall is best-known for his portraits of Lord Byron. There is no information available on the original owner, the Reverend Matthew West. Tis book is important because: 1. It is an 1810 edition and of antiquarian interest 2. It belonged to Louie Mack, the cousin of Sir Ronald Mack, an important Warrnambool Parliamentarian. Miss Mack was well-known in the Warrnambool area as the Secretary of the Warrnambool Technical School in the 1930s, 40s and 50s. The Macks were prominent early settlers in the Warrnambool area. This is a hard cover leather bound book of 433 pages (poem, ‘The Lady of the Lake’ by Walter Scott). The cover is brown leather with a gold ornamental border. The inside cover has a tan and blue mottled pattern. The book has illustrations with engravings from the designs of Richard Westall. The illustrations have a piece of tissue paper in front of them. The first page has a stamp of the Warrnambool & District Historical Society and there is a loose sheet indicating that the book was published in 1810 and that it belonged to Miss L.A. Mack.‘The Revd. Matthew West, Vicar’s Hall, Clane’. sir walter scott, richard westall, louie mack, history of warrnambool, rev. matthew west

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. The Jubilee School on the corner of Hood Crescent and Glen Eira Road was built in 1887 AD to commemorate Queen Victoria’s Jubilee.Victorian Heritage Database https://vhd.heritagecouncil.vic.gov.au/places/43705 The former St Mary's Jubilee School is locally significant as an early purpose built church school, associated with St Mary's Church. Its use of polychrome brick is locally conspicuous whilst the adoption of the Gothic Style not only underlines its Christian foundations but relates to the comparable schools of the Public Works Department of the same period.Page 57 of Photograph Album with four exterior photographs (2 portrait and 2 landscape) of St Mary's Church Hall. Bottom right photograph is a photo of a photo.Hand written: St Mary's Church Hall - Glen Eira Road [top left] / Neg 233 8 Oct 1966 [under top left photo] / 3 Sept 1972 [under bottom left photo] / bottom right photo titled "St Mary's Sunday School" / 57 [bottom left] trevor hart, 1880's, elsternwick, glen eira road, st kilda east, church of england, st mary's, caulfield north, st mary's anglican church hall, hood crescent, jubilee school, polychrome brickwork, curved windows, church hall, queen victoria’s jubilee, victorian, sunday schools, st mary's jubilee school, gothic style

Alexander Ross was born in Castlemaine in 1879. He became a member of the 4th Battalion Infantry Brigade and was noted for his soldierly qualities. When volunteers were called for the First Contingent, Mounted Infantry Unit going to South Africa, he was one of the first to enlist. In the Battle at Rensburg he was shot through the chest and died shortly after. Major Eddy and Lieutenant Roberts also died in the same action. About a fortnight before he was killed Corporal Ross had mailed the Queen's Chocolate Box he had received, to his father. In it was a letter which included information "...I am quite well and have not seen action yet. I remain Your affectionate son Alexander Ross"Digital portrait from "In Memory of the Gallant Officers and Men of Victoria in Transvaal War, 1899-1900".alexander ross, corporal, castlemaine, 4th battalion infantry brigade, first contingent, mounted infantry unit, south africa, rensburg, major eddy, lieutenant roberts, queen's chocolate box