The Batman Deed is sometimes called the Batman Treaty, the Dutigullar Deed, the Dutigullar Treaty or the Melbourne Deed. The deeds had been drafted by JT Gellibrand, a leading lawyer in the colony. Batman's Treaty was a document signed on 6 June 1835 by John Batman, an Australian grazier, businessman and explorer, and a group of Wurundjeri elders, for the purchase of land around Port Phillip, near the present site of the city of Melbourne. The document came to be known as Batman's Treaty and is considered significant as it was the first and only documented time when Europeans negotiated their presence and occupation of Aboriginal lands directly with the traditional owners. The so-called treaty was implicitly declared void on 26 August 1835 by the Governor of New South Wales, Richard Bourke. The original Batman Deed is of enormous significance to the history of the European settlement of Victoria. Framed print of the Batman Deed, dated 1835. This is a printed copy of the Batman Deed, made in 1966 from the 'original' by the State Library of Victoria. The frame is wood. The document consists of handwritten text in black ink with eight signatures in the lower right hand side and three signatures in the lower left hand corner. It has been signed by John Batman beneath the eight signatures.document batman-deed melbourne

Full length coloured photograph of Dugald Macpherson of Bungeeltap in traditional Highland regalia, mounted under glass in a light brown wooden frame with black and gold trim.Dugald Macpherson original owner of Bungeeltap.macpherson dugald, ballan, bungeeltap

Newspaper article: Rolling out woven creations, Diamond Valley Leader, 22 November 2017, Samarkand Gallery owner Said Sadath interviewed re traditional handmade rugs for sale. Newspaper letters: Bolton Street roadworks impact on traders, Diamond Valley Leader, 22 November 2017.main road, eltham, shops, businesses, said sadath, samarkand galley eltham, bolton street eltham

September Meeting (Newsletter No. 152, Sep. 2003) This meeting is one in an occasional series where we get together a panel of speakers to talk about a particular aspect of Eltham's history, its character or its people. As has been the case for past speaker panels, we have organised a buff et dinner to precede the meeting and details of this are given below. Eltham has a well-known tradition of building with mud brick, second hand materials and other innovative or uncommon materials. Although this trend dates mainly from the 1930 's there are examples from the pioneer days of Eltham. Part of the Brocksopp house at Eltham South is an 1850' s mud brick construction by George Souter. But the alternative building tradition in Eltham really began at Montsalvat in the 1930's. Justus Jorgensen's building complex of earth construction, stone and items from wreckers' yards inspired a number of builders and owner builders, particularly in adopting mud brick or adobe as their building medium. The tradition continues today with our area remaining home to a relatively high proportion of builders using these alternative materials. The panel we have selected to talk on this subject are either builders in the Eltham tradition or have had close contact with builders of the past. The panel will be introduced by Russell Yeoman who will talk briefly about George Stebbing, an early Eltham builder responsible for many of our remaining historic buildings, but known for traditional buildings of his time rather than the later buildings which give Eltham its particular character. The panel members are as follows:- • John Pizzey, architect. John will speak on the work of Alistair Knox designer and builder in mud brick and the person who has most contributed to the environmental building traditions of Eltham. • Peter Jarvis who will talk about his own work as a builder in mud brick and his views on traditional and modern construction methods. • Leigh Wykes, a present day builder of stone houses, will talk about his own work in the district and its relevance to Eltham traditions. • Diana Bassett-Smith will talk about her experience with owner-builders constructing their earth houses in Eltham in the 1950's. Pise and mud brick presented a cheap building material provided that you could do it yourself or persuade your friends to help. Prior to the meeting there will be a buffet dinner of casseroles and other courses prepared by some of our members. We will be starting at 6.00pm with dinner scheduled for 6.30. Harry Gilham will be providing drinks, including wines from his personally made collection. Cost of the dinner will be $10 which can be paid on the night. However, for catering purposes we need to know numbersCompact audio cassette Sony EF 90 Type I / IEC I Cassette labelled "Eltham Builders Historical" Converted to MP3 file; 100MB, 1:18:57 alistair knox, audio cassette, audio recording, building construction, diana bassett-smith, eltham, john pizzey, leigh wykes, peter jarvis, society meeting

This telescope was amongst various items collected from a sea dive in Port Phillip Bay. The diver was the caretaker of the Port Lonsdale Lighthouse, who dived on various wrecks in the bay during the 1960's. After the caretaker's death, his son sold off many of the shipwreck artefacts. The telescope was purchased from the caretaker's son in the 1990's by a previous owner of the Marine Shop, Queenscliff, Victoria. Many companies were making scientific instruments in Liverpool. Between 1730 up too today, they manufactured spectroscopes, telescopes, microscopes, barometers, photometers, cameras, ophthalmoscopes, and electrical equipment such as electric lamps. Liverpool was a major centre for the production of scientific items rivaling Glasgow and London from 1850 to 1920. This telescope appears to be of quality manufacture but the origins can only be surmised at based on the gold embossing to the leather surrounding the main brass tube as being associated with Liverpool England. There is no maker or owners mark, so again there is no sure way to determine the year of manufacture or maker. There were many opticians and scientific instrument makers working in and around Liverpool from 1730 through too today. Also the possibility the telescope could have been made outside Liverpool overseas should not be overlooked and may have been made as a souvenir item from Liverpool from the mid to late 20th century. The size and type of telescope is a traditional type that was used for many sporting activities in the mid to late 19th century for deer stalking, bird watching, or used generally. I believe the item dates from sometime around the early to late part of the 20th century as the use of the liver bird mark became popular in 1911. It began appearing on many manufactured items of the period up too today, denoting that these items were made by companies operating in or around Liverpool England. If the item had been made by a notable firm it would have been engraved with the makers name city of origin, or owner as was the accepted practice for these items. The writer has been unable to determine if any specific company had had exclusive use of the liver bird logo as it was widely used and was not copyrighted until the Liverpool football club successfully won a court case giving them the sole rights to the trademark in 2012.The item is also an example of the shipwreck artefacts gathered along the southwest coast of Victoria. It is also a sample of scientific instruments used up to the mid 20th century.Victorian style gentleman's three draw brass telescope with machine milling surrounding the end of each tube and around the objective end. The three tube draw has no split and all three cartridges are held within the main brass tube wrapped in leather with rope bindings at both ends 5 cm in length and beginning 7 cm from the objective end. The last 2.8 cm makes up the remainder of the brass tube which has a sliding brass sunshade. The eyepiece is flat and has a protective slide over the lens aperture. Two relay lenses are missing on the ends of the second and third tube. Gold embossed into the leather an inscription “Trade the Liver Mark” also embossed in gold a depiction of the mythical liver bird, associated with the city seal of Liverpool England. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwreck artefact, port phillip bay, port lonsdale lighthouse, wreck, 1960’s diver, queenscliff marine shop, liver bird, scientific instrument, telescope, three drawer telescope, liverpool, liver bird trade mark, trade mark

The SS Diomed was the last ? of the Blue Funnel Line's coal burners and the 4th (of 5 vessels) bearing the name Diomed and built in 1922. She made her last voyage from Australia to England in 1952, where she was broken up. The ship had been in service in Australia for 30 years and as a parting gesture the ship's bell was presented to the Mission by Alfred Holt & Co., the ship's owner. The bell was originally presented to the Port Melbourne Mission to Seafarers. It seems to have been a mark of respect for one of the Mission workers who regularly visited the ship. On closure of the Port Melbourne Mission in the late 20thC , the bell was transferred to the Melbourne facility and has been in permanent residence since then. The bell underscores the strong working relationship between the Mission to Seafarers, as an organisation, and the various companies and agencies that work on the oceans. It also represents the traditional relationship between Australia and England in that seafarers who visited the Mission were once primarily of British backgrounds or descent. While this situation has changed in more recent times, it is that traditional relationship that saw the establishment of the Mission in Australian ports in the first instance.(NB the previous 2 Diomed's had both been sunk in WW1 1915 and 1918 and the re-use of the name indicates it was a well respected name subsequently re-allocated to the 1922. and 1956 vesselsA brass bell with the word "Diomed" embossed on its waist and the word has also been painted black. The bell is mounted overall on a heavy carved wood base with brass dolphins at either side forming a support frame for the brass crossbar mount from which the bell is suspended. The clapper has a pull rope attached to it but the casing of the mounting prevents the bell from being fully rung.Embossed at the waist of the bell: "Diomed". Brass plaque on wooden mounting: "PRESENTED BY/ALFRED HOLT & CO/BLUE FUNNEL LINE/LIVERPOOL ENGLAND/1922-52/APRIL 1953"diomed, blue funnel line shipping, alfred holt & co, bell, ship's bell, dolphins, mission to seafarers, r. stewart murray, randall stewart murray, lay reader, port melbourne, 1953

This "ladies" pocket knife was used up to the late 1900's by influential and "well off" ladies, not only as a fashion statement but as a practical tool when away from the kitchen/home to peel fruit and provide a cutting instrument for small items. It was a method to show the growing independence of women to skillfully process food away from the home and kitchen. The use of such a small compact knife could also have been used by male cigar smokers (docking the end of the cigar)This "lady's "purse" knife was a demonstration of the growing independence of women in Australia and especially in rural areas up to the 1940's. The two World Wars provided the opportunity for women to take over what was traditionally "men's work". This evolution of women's equality in society brought changes to what the traditional role of rural women had been entrenched from first colonisation of Australia. The use of such a small compact knife could also have been used by male cigar smokers (docking the end of the cigar). This method of preparation of a good cigar would have been used by wealthy property owners or men of "class"This small one blade knife (lady's) has an "ivory" body containing one small blade. Horizontal lines in "off white" appearance run from one end to the other. One end has a "U" fitting(to provide an anchorage for a chain). This small knife could also have been used by male cigar smokers.ladies pocket knife, small knives, traveller's cutting implements

In around 1924 a band of Gija people crossed fences onto their traditional land near Bedford Downs Station in the East Kimberley 2000 km northeast of Perth and killed nine head of cattle. This act precipitated one of the massacres to become known as the 'killing times'. Paddy Quilty, the station owner of Bedford Downs had his men collect wagon loads of firewood which was distributed around the camp. He then invited everyone to assemble for their rations. The food, laced with strychnine, was handed out. As the Gija people fell down dying in agony, they were shot. The firewood was used to burn the bodies. One boy escaped to the the story. Paddy Jamin Jaminji (c.1922-1997) painted The Hills of Bedford Downs Station as part of a series of painting about the Killing Times. It depicts the story and sites of the massacre. At least twelve killing sites are recorded within a radius of 150 km of Turkey Creek, WA. The painting was possibly discarded due to its damage in one corner and later collected from an old shelter at Warmun on a field trip by collector Neil McLeod in 1995.Large painting on board of symbolic landscape. Brown, yellow, cream and white. Framed.bedford downs station, massacre, killing, gija, paddy quilty, turkey creek, warmun

The Skylark 4, the final in the Slingsby Skylark series, dates from 1961. The design heralded a trend towards the use of plastics in the construction of gliders. Slingsby incorporated GRP (glass reinforced plastic) panels to achieve a streamlined fuselage nose and cockpit area while retaining the more traditional wood techniques for the rest of the aircraft. Another notable feature was the smooth wing surface that was obtained using a Gaboon ply skin across the ribs. Best glide performance of 1:33 was found to be comparable with the early full GRP glider designs. The Museum’s example (VH-GTB – C/N 1382) was built in 1963 and originally owned by Chuck Bentson of the UK. It was brought to Australia in 1967 by Jeremy Picket-Heaps and flown at various places including Benalla, Cooma and Gundaroo. In 1970 the glider was transferred to the New England Soaring Club. Many flights were made from Armidale and Bellata in Northern New South Wales. On one occasion, the glider was kept aloft for 8 hours 45 minutes and on another the pilot took it around a 500 kilometre triangle in nearly 8 hours. In 1980 it was sold to Ralph (“Feathers”) Crompton and was flown extensively in South Australia until 1988. The final owner before the glider was given to the Museum in 2004 was Ross Dutton of Melbourne. The last recorded flight occurred in 1992. The glider at that point had logged over 2000 hours flying time from about 2000 launches. The airframe is currently being restored to flying condition. Technically this aircraft represents the state of the art at the stage that sailplane design was changing from traditional wood construction to composites (GRP) The Slingsby Skylark 4 is high wing single seat sailplane of mainly wooden construction with plywood and fabric covering. However, the cockpit and forward part of the fuselage consists of glass reinforced plastic which was innovative at the time that the type was designed. The cockpit provides for a semi reclining position for the pilot protected with a full Perspex canopy. The wings are made up of a centre section with constant chord and tapered wing tips. The aircraft has a conventional arrangement for the tail stabiliser / control surfaces. The sailplane bears construction number 1382 and is registered in Australia as VH-GTBaustralian gliding, glider, sailplane, skylark, slingsby, bentson, picket-heaps, crompton, new england soaring club, dutton

'The first panel celebrates the long history of runners that use the park. Richmond Harriers Athletics Club was established in 1913 and is the oldest athletics club in Victoria. The central panel depicts young female footballers and recognises female athletes and the popularity of women and girls' teams in contemporary sports. The final panel depicts a children’s cricket match. The young players are represented through the depiction of a game that is part of our national psyche and firmly entrenched in Australian culture.'Inner-city parks like Citizens Park have many diverse uses. They provide places to play, to exercise and to relax. They are spaces for community and are often subject to competing values and interests. The re-development of the Jack Dyer Pavilion at Citizens Park allows for the growth of the local community’s diverse interests and values and enables participation and interaction. 'The Park' focuses on the recreational uses of Citizens Park and its role as a community space in an area that is changing rapidly. The mural consists of three panels that address inclusivity and access to sport. Three core sporting groups who each utilize the pavilion and park as a public recreational space are represented: children, sport teams and runners. In fostering the representation of these groups, the panels also attest to the past, present, and future of this important space.Three sporting groups are represented: athletics/runners, women footballers in line formation and young cricketers in action/play. Accompanying plaquesport, women, community, richmond, parks

This photo of Alice Maud Marsh has traditionally been associated with the Marsh family that operated a butcher's shop on the corner of Edgevale Road and Fitzwilliam Street, Kew.Cabinet card. Studio portrait of Alice Marsh, J.E. Marsh whose family owned Marsh's Butcher Shop in Edgevale Road from 1915 to 1970. Previously the butcher shop had been owned by Mr Charlie Watson. Alice managed the shop until about 1928, when she became quite ill in about 1924 and died in 1930. The original donor, Nell Baker, who stated that .'..Alice could split lambs and breakup beef, no wonder she became ill!'BORN 29TH NOVEMBER 1877 / ALICE MAUD MARSH / DIED 2 JUNE 1930 / AGED (52) 52. Also photographed are two donation letters: that from Nell Baker to Mr Andrews [the current owner of the shop] in 1988, and from Diana Andrews [undated].alice maud marsh, marsh's butcher shop -- kew (vic.)

Gracia Haby and Louise Jennison have been creative collaborators since 1999, working together to make artist books, zines, collages, drawings, prints and stories. In this artwork, the animals have the upper hand. They are turning the tables on French acrobat, circus owner, and animal trainer, Alfred Court (1883-1977). In 1925, Court's menagerie boasted a collection of 25 lions, 8 tigers, 9 hyenas, 7 wolves, 3 cougars, 12 polar bears, 16 panthers and leopards, 5 jaguars, 2 cheetahs, and an extensive assemblage of exotic animals, including antelopes, llamas, and camels, alongside several monkeys, porcupines, and mongooses. Haby and Jennison’s collaboration explores their mutual fascination with the adaptable possibilities of paper and found images.

merri-bek public art collection

Metal branding hammers were the most common way to control the sale and movement of hardwood timber produce like logs, railway sleepers, fence posts, and poles from Victorian State forests. Royalty was also paid on this basis. The hammer has a crown stamp on one end with a unique number in the middle (453) which identified its owner, and a crows foot or broad arrow on the other. The broad arrow was a symbol traditionally used in Britain and its colonies to mark government property. Forest regulations state that an authorised officer may use the crown mark to identify produce which has been sold and may be removed from the forest, whereas the broad arrow can be used to brand and mark trees which are not to be felled, or to indicate forest produce which has been seized. Hammers were traditionally only ever issued to forest officers and were an important, and closely guarded tool-of-trade. They were not transferred between staff and lending hammers was not permitted. But it was an onerous task for staff to hammer and tally hundreds of logs, or thousands of fence posts each week, so in about 1990 a system was introduced whereby hammers were allocated to logging contractors to grade logs and tally them instead. But there was still spot checking by authorised officers. A register was kept, and contractors paid a substantial deposit to make sure they didn't lose them, but they occasionally turn up by fossickers with metal detectors. While branding hammers are still used in some smaller locations, plastic tags and barcodes are now more common.Metal log branding hammer with a crown stamp on one end with a unique number (453) in the middle which identified its owner, and a crows foot or broad arrow on the other. The unusual bent metal handle was designed to protect user from banging their fingers on the log. It was also fitted with a rubber hand grip. Most FCV branding hammers were issued with wooden handles. The branding hammer 453 was initially issued to Wally Cowell at Beechworth. It was reissued to Jim Browning upon Wally’s retirement The hammer still had a wooden handle, but the it broke and became loose inside hammer head. Russel Pritchard from the Beechworth Depot replaced the handle with a new metal one and put a dog leg in it It mainly branded forest produce cut in Mt. Pilot and Reedy Creek areas. The main logging contractors were Gordon Habeck from Chiltern and Steven Goldsworthy from BeechworthCrown mark one end (453) and Crows foot other endforest harvesting, forests commission victoria (fcv)