Saxony‑made vase, cherished by a Lutheran family in the Lowan Shire. Crafted in Saxony and brought to Australia by early settlers, this vase became a valued possession within a Lutheran household in the Lowan Shire, reflecting both their heritage and the region’s migrant story.Vase from Saxony, treasured in a Lowan Shire Lutheran home. This finely made Saxon vase was preserved for generations by a Lutheran family in the Lowan Shire, symbolising the cultural continuity carried by German settlers into the Wimmera district.This is a decorative ceramic vase with an ornate, scalloped rim finished in a metallic silver tone. Two stylised handles rise from the shoulders, each shaped with soft curves that complement the vase’s overall elegance. The body is cream‑coloured with warm tan shading at the top and base, giving it a gentle gradient effect. The central decoration features a richly painted floral motif: yellow and deep red roses surrounded by green foliage and small white blossoms. Gold scrollwork frames the bouquet, adding a refined, almost Rococo touch. The underside shows wear consistent with age and use. It carries a green maker’s mark stamped in a shield‑like outline reading "PROV. SXE. E.S." indicating production by Erdmann Schlegelmilch, pottery factory in Provincial Saxony. This makers' mark was in use from 1920 to its close in 1937.green maker’s mark stamped in a shield‑like outline reading "PROV. SXE. E.S."hand-painted porcelain, made in saxony, vase, floral motif featuring roses

This MEZON brand button accordion was made specifically for Lyons, Musical Instrument Importer, 207 Bourke Street Melbourne, as can be seen on the embossed lettering on the top of the accordion. The hand inscribed nameplate indicates that the owner was T H Betts. On August 19th, 1903, Michael Edward Lyons applied to the Trade Mark’s Office of Sydney for registration of “The Invented word “MEZON” to be applied to musical instruments. In 1908 he was advertising himself as sole agents for MEZON accordions. He had been at that address for 15 years (since 1893) and was moving to larger premises at 256 Bourke Street, Melbourne. Still at this address in 1925, Lyons advertises MEZON accordions as “The ideal Xmas present, Maker your friends happy, This Xmas let the Present be a MEZON”. There was a choice of three styles: The Organ, The Wonder and The Grand Organ. They came with a Fibre Case with Lock and Key and a Leather Handle. The promise was “They Give Satisfaction”. They were obtainable at all stores or from Sole Distributors in Australia. In 1927 the MEZON was sold by Albert & Sons in Western Australia, Victoria, New South Wales and Queensland as well as by Lyons in Melbourne. The favoured German accordion brands were Monarch and Sterling, which were made by the International Accordion Company in Leipzig, Saxony, Germany. The company was founded in 1871 by Ernest Deines and made a variety of musical instruments. The company closed business in 1834. The International Accordion Company’s accordion range made the International brand and others such as MEZON, Globe, and Dienst. Australia imported the MEZON brand. American companies imported a range of the popular German branded accordions until World War II, when they were no longer available. In general, accordions produced after the war were not as high a quality and not loud enough to be heard over the electronic guitars and the drum kit of the bands. This accordion represents the type of musical instruments used in the late 19h and early 20th century, locally and Australia wide. In colonial Australia musical instruments like this one were imported from Germany as well as other countries. At that time, German made instruments represented good quality. This accordion is significant for being especially imported into Australia by a Melbourne retailer. Music was a part of family and social life, associated with dances, song and general fun.Button accordion with case. Accordion with steel reeds, three bass valves and ten treble valves. It is coloured black with very dark green trim, decorative silver metal reinforcing on main corners, gold reinforcing on corners of the bellows and delicate printed, gold printed patterned trims. Hand support for buttons is made of fabric. Folds of the bellows are light coloured with fine dark pattern. It has a nameplate on the front. Black wooden case has red lining, two brass hinges, two brass hook and eye catches and a swivel brass lock. The base of the case has a loose brass fitting. The top has a thin metal handle. Inscription on hand inscribed name on front, label inside case lid, silver reinforcing, leather on bellows top, and frame of accordion. Manufactured with the brand MEZON in Saxony, Germany, for Lyons of Melbourne. Once the property of T H Betts.Printed on label “MEZON ACCORDEONS.” Impressed in metal corners and reinforcing “MEZON” with logo [circle enclosing entwined capital D and E] “MADE IN SAXONY” Embossed in gold on frame “Made in Saxony”, “MEZON Accordion/ manufactured for LYONS / MELBOURNE, Bourke Street” Name inscribed by hand “T H Betts”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mezon accordion, lyons, made in saxony, t h betts, betts, mezon, squeeze box, musical instrument, button accordion, germany, michael lyons, international accordion company, ernest deines, circle enclosing d e, d e, e d, german accordion

This postcard was published by R. & B. Hall in Beechworth and printed in Saxony, circa 1930. Saxony is a landlocked state of Germany which borders the states of Brandenburg, Saxony-Anhalt, Thuringia, Bavaria and the countries of Poland and the Czech Republic. This particular postcard is embossed with a pattern which surrounds the middle image in the center of the card. This image depicts Asylum Avenue which leads to the Mayday Hills Asylum in Beechworth, Victoria. What makes this scene particularly interesting is the appearance of snow which is rare in Beechworth. The road depicted on the postcard has track marks made by a car with thin wheels. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Pale coloured rectangular postcard printed on matte embossed card.Obverse: Snow Scene; Asylum Avenue, Beechworth. / Reverse: POST CARD / ADDRESS ONLY / Published by R. & B. Hall, Beechworth. / Printed in Saxony. / 3447 [crossed out] / 1997.2492 / AFFIX STAMP /asylum, asylum avenue, beechworth, snow north-east vic, victoria, snow scene, mayday hills, mayday hills hospital, mental hospital, colonial attitudes, mental health, history, town development, postcard

This postcard contains a depiction of the Mayday Hills Hospital in Beechworth, Victoria from the direction of Farm Hill, circa 1930. It was designed by C.F.Falk in Beechworth and printed in Saxony which is a landlocked state of Germany which borders the states of Brandenburg, Saxony-Anhalt, Thuringia, Bavaria and the countries of Poland and the Czech Republic. The depiction is a painting of the Mayday Hill Hospital which portrays the extensive buildings an HaHa wall (many of which have not survived to the present day). It provides a unique opportunity to reconstruct this historical site as it may have looked in approximately 1930. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). The extent of buildings displayed in this postcard helps convey the imposing and enormity of the structure before decommission. Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. The title on the obverse of this photograph as "Asylum for Insane, Beechworth" reflects a bygone era and attitude to mental health. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Colour rectangular postcard printed on cardObverse: Asylum for Insane, Beechworth. / Reverse: C.F. Faulk, Beechworth. Printed in Saxony. POST CARD / ADDRESS ONLY / AFFIX / STAMP / B 2298 / 1997.2457 /mental hospital, insane asylum, mayday hills mental hospital, beechworth, mayday hills, asylum, gold town, north-east victoria, ararat asylum, kew asylum

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.Historic postcard of local significance showing the layout of the Alexandra Gardens in Kew. The gardens were opened in 1908 and designed/planted by the Pockett Brothers, so the planting reflects their horticultural style as well as that of the period. The postcard also depicts the Kew Jubilee Rotunda (later demolished and replaced by a second structure in 1988).Monochrome postcard showing the original 'Jubilee Rotunda' in the Alexandra Gardens in Cotham Road.Alexandra Gardens, Kew Oastler Leading Stationer, Kew / Printed in Saxonypostcards -- kew (vic.), alexandra gardens -- kew (vic), rotunda -- alexandra gardens -- kew (vic.), oastler -- stationers -- kew (vic.)

This postcard shows a photograph originally captured by Nicholas John Caire (1837–1918), a prolific photographer living in Melbourne at the turn of the century and capturing much of southeast Victoria with dry plate photography. The original photograph, labelled 'Bush Hut' and held by the National Gallery of Victoria, had a slightly wider angle of the hut included. A 'Selector' was a landholder after the late-19th century who was allowed to 'select' a piece of crown land, apply for a license to occupy it. In Victoria, Selectors would buy half of the land for £1 per acre, and pay rent on the other half for seven years; after this period, if they had made certain improvements to the land (fenced it, built on it, and grown crops on at least 10% of it) and had paid off the balance of the purchase price, the land would become theirs permanently. This system was designed to limit the numbers of 'Squatters' - settlers occupying land without government permission - and make it more feasible for poorer small farmers and labourers to acquire land. However, a Selector's life was often difficult due to the risk of having land unsuitable for crop farming, and opposition from powerful 'Squatters' whose occupied land was being redistributed. The postcard was part of the A.G.J. Series, which included many Australian sights including other photography from Caire. It was published by A.G.J. in Saxony.This postcard depicts a home in the region built in a style common for the time. The Selection system exemplified by this image was in force throughout the region.This black and white postcard depicts a wooden bush hut surrounded by trees, with a man seated in front of his home. There is a label below the picture, and text on the reverse denoting the postcard (with the Post Card titles struck out by three straight lines) and a pencil illustration of a leaf. The reverse is divided in half by a vertical line, with one side intended to carry the address and the other a message.Front-Left, Below Image: "Copyright." Front-Centre, Below Image: "A Selector's Home, Dandenong Ranges." Reverse, Upper Left: "Printed in Saxony." Reverse, Centre: "POST CARD / $12 / ADDRESS ONLY" Reverse, Right: "AFFIX / STAMP" Reverse, Lower Left: "A. G. J. Series."dandenong ranges, mount dandenong

This instrument was given to Allan White on 24.8.1935 by his grandfather. Allan White came to Orbost in 1946. He was firstly a share fvarmer on 3 farms then in business - saddler and bike shop with his brother Eric. Then withG.P. Motors as the RACV man. Allan was a "ham radio" operator and involved with Rotary, Rifle and Bowling clubs, also with the Presbyterian Church.A Mezon button accordion with a tan coloured canite carrying case. it has 3 bass valves and 10 treble valves.On front of case : MEZON Superior Manufacturer On accordion : MEZON accordion Made in Germany On end : steel reeds Hand engraved : 24.8.35 Corner pieces : MEZON Trade mark Made in Saxony musical-instrument button-accordion white-allan

Printed coloured photographic postcard with two smaller images contained in oval frames on a green background. The left hand image is of a path through an avenue of trees and the right hand image is of a tiered waterfall with a background of trees. Both images are each framed by an oval frame supported by an easel. The words A Shady Walk are printed below the left hand image and Rushing Waters below the right hand image. On the reverse the words Printed in Saxony are printed in red on left hand side. Handwriting covers the rest of the space and a one penny stamp is affixed.Printed in Saxonypostcard

Musical instrument.Black leather case with metal clasp and leather handle also metal studs. Accordion is brown wood ends with keyboard with 10 keys on one side and 6 fingering holes on other side, both with leather handles. Leather handle on lid. Gold lettering "Mezon manufactured for Accordion Lyons Melbourne, Burke Street. Has metal corners and closing clip, made in Saxony, Hardle "International"As abovemisic, piano accordion, mezon

A postcard of a photograph 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.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 in and surrounding Marysville 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. POST CARD A.G.J. AFFIX/ STAMP THIS SPACE MAY BE USED/ FOR COMMUNICATION. THE ADDRESS ONLY TO BE/ WRITTEN HERE. Printed in Saxony COPYRIGHT. To Dear Emily/ With every loving/ Wish for many/ happy birthday/ with love from me/ Myrtlemarysville, victoria, george, george locke, nicholas john caire, cumberland valley, hermit, postcard, souvenir

Printed coloured postcard with wedding artwork against a multicoloured background. Image depicts a wreath of white flowers supporting four gold bells, a horseshoe and two bluebirds are amongst the flowers. The words Ring out ye bells and tell the joy, We wish these two fond hearts to-day, Peal out and say we wish them luck And happiness their whole life's way are printed in black. On reverse, card is addressed to Miss G H Dean St Heliers 4 Andrew St Windsor. A one penny stamp is affixed and the words Series 1779 Printed in Saxony are printed along the bottom left hand edge.Series 1779 Printed in Saxonypostcard

Sepia postcard. Written on bottom ' Alexandra Fountain, Bendigo' Image shows Alexandra Fountain with View Point buildings in background. Tram on RH side. People walking around base of fountain. Early 1900's ? Receipt number 355/16Printed in Saxonybendigo, business, carwardine soap and candle

Sepia postcard. Printed on Bottom ' Hargreaves Street Bendigo' Image shows intersection of Hargreaves and Mitchell Streets, Bendigo. Horse drawn vehicles in image, tram on RH side, lamp post next to tram. Man wheeling bicycle in foreground. Receipt number 355/16Printed in Saxonybendigo, business, carwardine soap and candle

Black and white Postcard entitled 'Lake, Deaf Mutes' Home, Blackburn'.Printed in Saxonyblackburn lake sanctuary, adult deaf and dumb society

Sepia colour postcard, portrait style Written on bottom 'Post Office, and Law Courts, Bendigo'. Image shows many people walking down Pall Mall on footpath outside Law Courts and Post Office. Women wearing ankle length dresses, large 'picture' hats. Men suits, straw boaters. Clothing appears to date to 1800's to early 1900's. Receipt number 355/16Printed in Saxony, on back of cardbendigo, business, carwardine soap and candle

All overseas correspondence to Gladys Holmes. Vida Holmes, Frank and Jim from Byaduk servicemen, relatives and friends, during WW! service 1915-1919. Except Letters and postcards from Orford Critchlow to Gladys. Some of the seven servicemen died and are remembered on the Byaduk war memorial- Wilfred Rentsch, William Thomas Harper, Stanley O Miller, Albert V Harper and Walter Kinghorn. Gladys wad born in Byaduk 1897 daughter to Joseph (Baker) and Agnes Holmes with sisters Vida and Una and brother Frank. She married Alexander George Anderson of Stawell in 1924. Archie McGillivray married Minnie Ramsay, the Scottish sister of a friend Ashley Ramsay.Primary documents sent to Byaduk residents from local friends serving overseas in WW!. Details of feelings, ship journeys, overseas war service and few photographs of period 1915/6- 1919. some of the writers/authors have photographs on the Byaduk Memorial hall Honour Board.001800.1 -001800.10 Cardboard postcards, some colour, one photograph and one embroidered001800.1: To Gladys from Archie - undated 001800.2: To Gladys, With Kindest Regards, From Archie - undated 001800.3: Dear Gladys.. Sept 14.... Bye Archie; Harefield Hospital 001800.4: Dear Gladys...Kindest regards Archie; Sutton Veny June 16/1918 001800.5: Dear Gladys..Archie; Belgium, March 21/1919 001800.6: To Gladys ....From Archie; 16/3/1918 001800.7: Dear Gladys...Your old pal Archie; Belgium, 16/3/1918 001800.8: Dear Gladys....Love from Archie, France, Jan 27/1918 001800.9: To Gladys from Archie; Christmas 1918 001800.10: Dear Gladys....from Arch, France Nov 7 1917 001800.8: 001800.9: gladys, vida holmes, frank holmes, archie mcvillivray, wilfred rentsch, william t harper, albert v harper

The view of High Street is from the Main Street intersection, looking south.Post card featuring two black and white photographs with a banner saying "Greetings from Rutherglen" between the photos. The top one is captioned "High Street", the bottom one captioned "St. Mary's Church, High Street" high street, st marys church, churches, rutherglen

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a banner between them. The top photograph is of High Street, taken from the Main Street intersection looking south. The bottom one is of St Mary's Church, High Street.At bottom of top photo: "High Street" At bottom of bottom photo: "St Mary's Church, High Street"high street, st marys church

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a banner between them. The top photograph is of a wheat harvest. The bottom one is of the annual Regatta on Lake Moodemere.At bottom of top photograph: "Harvest Time. Rutherglen Farm." At bottom of bottom photograph: "Lake Moodemere. Gala Day."harvest, agriculture, lake moodemere, regattas, rowing

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a decorative panel between them. The left photograph is of a church. The right one is of pine trees in Rutherglen Park.At bottom of left photograph: "St Stephen's Church. High Street." At bottom of right photograph: "Pine Avenue. Rutherglen Park."st stephens church, rutherglen park, high street, pine avenue

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a banner between them. The top photograph is of open vat wine fermenters at Mt Ophir winery. The bottom one is of the Rutherglen State School, with a large group of people in front of it.At bottom of top photograph: "Wine Making." At bottom of bottom photograph: "State School."wine making, mt ophir, mount ophir, rutherglen state school, school buildings

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a banner between them. The top photograph is of workmen cutting down trees. The bottom one is a view of Main Street looking west.At bottom of top photograph: "Forest Clearing." At bottom of bottom photograph: "Main Street."land clearing, timber felling, main street, bank of australasia, s younkman & co, victoria hotel

Black and white postcard with two oval photographs with "Greetings from Rutherglen" on a banner between them. The top photograph is a view of a riverbank with a man seated on the bank fishing and smoking a pipe. The bottom one is a picture of the Post Office in Main Street.At bottom of top photograph: "The Murray River." At bottom of bottom photograph: "Post Office." Message on back of card: "To Mr Barber with every Good Wish for a merry xmas and the Happiest of New Years. From your old friends Sam & Nellie Williams. 23/12/13."murray river, rutherglen post office, christmas greetings, sam williams, nellie williams

Middle section - bellows made of paper. Leather handle and stoppers on one end and mother of pearl press buttons, which operate keys on the other end.Mezon manufactured for Accordion Lyons Melbourne Bourke Street Lyons Sole agent Bourke St.musical instruments, wind

Large white photo album with picture of elegant lady in oval frame with gold embossed pattern on front cover. "Presented to Grace from Ethel". No. 45 for 240 postcards.postcards

Pair of new brown infant socks. Special dye.socks, baby clothing

Post card featuring two black and white photographs with a banner saying "Greetings from Rutherglen" between the photos. The top one is captioned "The Murray River", the bottom one captioned "Post Office" rutherglen, murray river, rutherglen post office, buildings, rivers

The Kew Historical Society's postcard collection includes views of Kew, Melbourne and Greater Melbourne as well as those including overseas scenes sent or received from Europe or the Middle East. They date from the 1890s to the 2000s. These postcards may or may not include the name of the publisher or printer. A number of the cards were published as parts of popular series. A way of dating early postcards is to identify whether the reverse was divided by a central line which became the norm after 1902 in the United Kingdom. However, other postcards produced after this date do not always conform to this print layout.A monochrome postcard of the tram terminus beside 'The Block' in Cotham Road, KewOastler, leading stationer, Kew / Printed in Saxonypostcards -- kew (vic.), trams -- kew (vic.), cotham road -- high street --- kew (vic.), the block -- cotham road -- kew (vic.)

Detachable round collar, with one white stud. Made of celluloid.Waterproofed Cotton Fibre Made in saxony '16'costume accessories, male