The story of the township and its enlisted men during the Great War, by Valerie Polley, Warrandyte Historical Society.This book has been compiled from posters exhibited in the Warrandyte Historical Society's exhibition entitled War & Warrandyte 1914-18, made possible by a grant through the Anzac Centenary Community Grants (Veterans Fund) from the Victorian Government and the Victorian Veterans Council.

Valarie Marshall was a Diploma student at the Gippsland Institute of Advanced Education from 1972 to 1974.Shingle style hand built pot with clay pellets lightly coloured with copper oxide. gippsland campus, jan feder memorial ceramics collection, ceramics, valerie marshall, gippsland institute of advanced education, alumini

CRTS students "C" Course Nov 1947. Provenance T.H. Kneen. Appears to have been used for a display.Handwritten on reverse, "Valerie Sloane (sic)CRTS "C" Course Nov 1947." Faint stamp, "Australian Official Photograph…? Information."valerie sloane, crts, students, trainees, commonwealth reconstruction training scheme

Soft-covered book by Valerie Polley, Warrandyte Historical Society, featuring photographs, sketches and text outlining early and contemporary development of Warrandyte township and community, first published in April 2014.Front cover - Peace Day celebrations in Warrandyte, July 1919. Acknowledgements: The book project Wonderful Warrandyte-A Portrait was made possible by a grant under the Australian Government's 2012-2013 Your Community Heritage Program (Your Community Heritage - Sharing Community Heritage Stories). Several members of the Warrandyte Historical Society were involved in this book project which evolved after several years of development ideas. Valerie Polley wrote the text and selected photographs. Special thanks go to the Steering Committee of Margaret Kelly, Andy Bevan-Jones, Richard Morton and Wayne Rankin for their knowledgeable input and beneficial editing advice, Murray Houghton for his specialised historical knowledge and advice on further references, and Diane Baird for editing. The book would not have been possible without all the dedicated work of the Society's members, past and present, who have contributed to the Society's substantial archive. All proceeds from the sale of this book go to the Warrandyde Historical Society. Photographs: Stephen Reynolds, Austin Polley, Valerie Polley, Wayne Rankin, Ron Harris, Merv Naughton. Flora and Fauna photography by Nth Warrandyte, Osborne Peninsula, Landcare, Inc. Maps: Jock Macneish

Pam is on the bike which belonged to her cousin Valerie Feldbauer (later Waller) Thmas Street was named after their grandfather, Thomas Teagle and many of the Teagle family homes were in this street.pamela lorraine ingram, eltham, thomas street, valerie feldbauer, pamela thoonen (nee ingram), valerie waller (nee feldbauer), pam thoonen (nee ingram) collection

This book retells the lives of the 120 names on the Mornington Honour Roll, men and women who served in World War I.150p., illus.To Noel & Cath, Best Wishes, Valerie J Wilsonmornington, world war 1, war memorials mornington, mornington historical society

Val Wilson's family had a 146 year connection to the Greensborough area beginning with James and Susan Chapman in 1849, Family connections include the Poulter, Brown, Splatt, Kennedy and Memmott families. Val has illustrated her story with family photographs and relevant newspaper clippings.The story of family connections in Greensborough district.37 pages, illus. (some col.). Bound in green folder with clear cover.val wilson, james chapman, poulter family, splatt family

The Warrandyte Historical Society aims to collect, preserve and present the town's history. This books draws on the archival and memorabilia resources of the Society and other sources to paint a portrait of the township, its landscape, buildings, organisations and community.Warrandyte holds a significant place in Victoria's gold mining, art and settlement history.ISBN 9780992429102warrandyte, anderson's creek

(No identification of students or class or year).

Dark coloured book with pattern on the front cover and green stringnon-fictionAutograph book

Colour photo of Valerie Rae (in green coat) and another lady at a Legacy function, possibly a theatre. Was donated with three other photos after Valerie Rae passed away. The note with the photos was dated 2014 and it said she died in 2009.A record of activities that Legacy provided for widows.Colour photo print of Valerie Rae and another lady at a widows function in 2006.Printed on the front is 'Melton 29/4/2006'.widows, widows clubs

Contains state by state maps and details about each state.Maps, colour photographsatlases, road maps, australian travel

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a gum leaf and a singe root system handwoven in a colour palette of black, grey, and white.valerie kirk, tapestry, textile

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of roots and leaves handwoven using a colour palette of black, grey, and white.valerie kirk, textile, tapestry

I draw inspiration from the world around me and from particular aspects of life. Previously my work dealt with my experience as a Scottish migrant – looking back and forward, north and south, here and there, between two countries. This ‘in-between-ness’ of the migratory experience, while not unique to me or other Australians, contributes to my sense of being made up of many parts, a kind of fragmentation where certain components come into play at different times. There is an eternal mismatch or sense of being out of place in my world as I am recognized as Scottish in Australia when people hear me speak but in Scotland people comment on my Australian accent. In a wider sense Australia’s history and culture is made up of many examples of people and things brought together without a good likeness or fit. Woven tapestry allows me to combine my interests in textiles and visual art using the tactile qualities of materials in the highly complex woven form. It allows be to create realistic images, but change format, composition and placement to create images which invite the viewer to question. The intricate nature of multiple wefts twined between warps parallels the complexities of life and tapestry’s building /constructed process embodies the advancement of time.Wangaratta Art Gallery CollectionA small tapestry of a tree and its root system handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile

Caught Fish, PANGASIANODON GIGAS” is a miniature version of the larger tapestry described below and it embodies the same ideas: The giant Mekong Catfish is under threat of extinction due to over-fishing and loss of habitat. It is beleived that the fish used to reach sizes over 3 metres, but the largest recorded catch to date is 2.7 metres – a monster fish caught in Thailand in 2005. As its fame and the mythology surrounding it increases, so does the number of game fishermen keen to land a record catch or earn a sizeable amount of money in the exotic food marketplace. However, the water flow of the river is increasingly more controlled by China, changing the natural habitat of the river. It seems that survival of the great catfish is being left to chance and the fish’s ability to avoid nets, lines and traps in the murky green waters of the Mekong. My exhibition piece is a giant, woven Pangasianodon Gigas – made as a shaped tapestry which will hang the way a fisherman would hold up his catch to display or be photographed as his trophy. The drawing was made from photographs of very large fish I observed in Laos and the detail on the body of the fish is deliberately ambiguous scales/nets. The piece will be woven on cotton seine twine (which was originally made as a string for fish netting) with mixed weft yarns. Artist statement about the work: The final work is an abstraction of fish and nets – an image made with a hand drawn quality suggesting the personal observation that goes with looking and responding with ink on paper. The tapestry technique mimics the original marks to a certain degree but is also very obviously a woven form with its stepped edges and shapes, blending of tones through hachure and broad set of warp and weft.Wangaratta Art Gallery CollectionA small tapestry of a caught fish handwoven using a colour palette of black, grey, and white.valerie kirk, tapestry, textile, fish

The Kew Historical Society mounts regular exhibitions at venues throughout Boroondara. These generally relate to Kew's History and use items from the collection.Three born digital images of an exhibition of items significant to the history of Kew High School. The exhibition was curated by Val Bourke of the Kew Historical Society, and located in the Kew Library.kew high school, exhibitions -- kew (vic.), kew library

Purchased with the assistance of the Crafts Board of the Australia Council, 1979Textilegippsland, artwork, permanent collection

stawell