Set of 2 Kodak Ready-mount with slides made from the Association of Railway Enthusiast Provincial Tramways film strip. 1166.1 - No. 31 at the View Point terminus, corner of Wendouree Parade and Macarthur St., shows tram and section arrangements on poles. Also has SEC tramway shelter alongside stop. Tram has destination of "View Point" 1166.2 - No. 38 crossing Albert St. en route to Sebastopol.1166.1 - "No. 21 at View Point terminus. Line of left is that for cars on "Gardens via Drummond St. Nth" route." 1166.2 - "No. 38 crossing Albert St. near Sebastopol terminus" All have date stamp of "Nov. 1970" in blue ink. Writing in blue ink.tramways, trams, view point, wendouree parade, albert st, sebastopol, tram 21, tram 38

35mm colour positive transparency Mount - Black and Whiteinfrastructure, roads, eltham north, ryans road

Pamphlet details the introduction of the X1 class safety trams to the Russell St Footscray route from 13/9/1926. Gives information on the tram, fares, fare boxes, pay as you enter (PAYE), or pay as you leave, and provides hints for passenger behaviour. See also item 7470 for a pamphlet on the tram itself. See 7520 for the pamphlet on the introduction to Williamstown Road route.Yields information about the attributes of the X1 class tram at the time of their introduction in 1926 to Russell St.Pamphlet - one sheet folded printed on light brown paper. Two copies held.tramways, trams, mmtb, x1 class, fare box, footscray, russell st

Greater Port Melbourne - Official Souvenir of the 1939 Port Melbourne Centenary Celebrations Committee. Red and black 56 page book containing details of the Liardet festival, and local advertisements (2 copies)celebrations fetes and exhibitions, religion - anglican (holy trinity), religion - wesleyan methodist church, religion - roman catholic church (st josephs), mayors, town clerks, james peter crichton, sydney sims anderson, henry melville fennell, wilbraham frederick evelyn liardet, wfe liardet, caroline frederica liardet, edward james 'jack' holloway, j kitchen & sons pty ltd, swallow & ariell ltd, general motors-holden, gmh, neal's motors, port melbourne yacht club, pmyc, sandridge golf club, port melbourne football club, pmfc, port melbourne cricket club, port melbourne baseball club, nightingale supply co ltd, malcolm moore ltd, joe nield, harold v drew, j p burke, wilson electric transformer co, daniel scott pty ltd, a t harman & sons pty ltd, concrete constructions, cindcrete brick co, schumacher mill furnishing works

Small booklet describing the Australian pavilion exhibits at Expo 67 in Montreal, 36 pageswalsh st library

Yields information about the view of letter writers about the proposal for a Ballarat Tourist based tramway in 2002.Set of three newspaper clippings about the return or revival of a tourist tramway in Ballarat. .1 - Cartoon by Inkcinct - The Courier Saturday 27 July 2002 - about Eureka Historians commenting on the tram route proposal. .2 - Newspaper clipping - six different letters - from The Courier, Saturday 27 July 2002, first letter titled "Trams were hard for many to board" - written by David Stabb, Doug Wiseman, Shane Canny, Peggy Nijam, M. Parr, Mary Glenane. .3 - Newspaper clipping - six different letters - from The Courier, Wednesday 17 July 2002, first letter titled "Trams are not the best investment", written by Bob Orr, Keith Vanstan, Walter Robson, Tom Evans, Brian Coffey and Pauline Shaw - re Peter Hiscock and the Bridge Mall. Each item has the date, source and page written in ink.ballarat revival, btm, city tramway, bridge st, bridge mall

‘Reno’, stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. The garden including rare plants supplied by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Rare photograph of an historically important weatherboard cottage in St John's Parade.Colour positive transparency (slide) of the grotto in the garden of 'Reno' in St John's Parade, Kew (demolished 1977). historic houses -- kew (vic.), reno -- st john's parade -- kew (vic.)

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Roll of film taken by Eltham Shire Council officers specifically focussed on road infrastructure and maintenance. Many roads of the shire were only relatively recently sealed towards the late 1980s/early 1990s.35 mm colour positive transparency (1 of 8) Mount - Kodak Kodachrome CardProcessed July 1981infrastructure, roads, lower plenty, riverhill drive

Pamphlet - 2 fold DL full colour - titled "D class automatic announcements", advising that automatic tram stop announcements would be coming to Malvern and Southbank depots from March 2013. Provides information to staff, why, starting dates, and what happens if tram diverted. Part of Yarra Trams "Tramsforamtion" project. Two copies held.trams, tramways, d class, public transport, tramcars, yarra trams

Ballarat HistoryNoneballarat, ballaarat

Bendigo Advertiser ''The way we were'' from 2001. School days: Kennington State School. Circa 1930's. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide of Geelong Pengelley No. 16 at the Beach terminus - Bellarine St and Corio Tce (now Brougham St). Photo taken after 1951. Dave O'Neil notes remark that the corner is virtually unchanged, except for traffic lights. "G 14" and "1 -14" in pencil.tramways, trams, geelong, beach, corio tce, tram 16

Booklet

Australasian Post report on tramways and in particular Melbourne and their use in other places in the world. Notes Melbourne's cable system and how it operated. At the time only Adelaide was the only other Australian operator. Features photos of Melbourne's trams along with Bendigo, Geelong, Melbourne 1041, Stuttgart, Gothenburg. Written by George Hart. On page 16 is a cartoon by Ken Maynard about drink driving and blood alcohol testing. Also has a story of an absent-minded professor and his problem of getting his fare out of his pocket on a Melbourne tram.Yields information about Melbourne's tramways and its place in the world.Set of 8 pages with centre staple remaining from the Australasian Post 10/3/1977australasian post, tramways, cable trams, melbourne, ken maynard, stories

A recording of Ye Olde Music Hall. This performance is by the Diamond Valley Choral Society ay St John's Church of England Heidelberg on 01/10/1983.1 audio cassette in clear plastic caseHandwritten on cassette: "St John's C of E choir + Diamond Valley Choral Society. Ye Olde Music Hall. St Johns 1/10/83".diamond valley choral society, st john's church of england heidelberg, music halls

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1970. Bendigo Institute of Technology, Engineering School, Applied Science. Ralph Birrell and other officials mixing with the audience after event.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1970. bendigo institute of technology, engineering school, applied science. ralph birrell officials mixing audience event

Colour slide in a mount. Street scene New York, East 73rd Street, New YorkMade in Australia / 2 / JUN 67M6slide, robin boyd

Image of Adelaide Festival Centre on front, which opened in 1973.walsh st library