Hand drawn plan with coloured shading on paperballarat school of mines new classrooms, buildings, architectural plans

Sketches of the Mount Helen campus, including topography.mount helen campus, architectural drawings

Ithaca House, the home of the Ithacan Philanthropic Society, is located at 329 - 335 Elizabeth Street. The site was purchased in the mid 1950s to build the club rooms. The money for the venture was raised by the issue of non-redeemable 10 and 50 pound debentures to members. Nicholas Sofarnos, a young Ithacan architecture graduate, designed the building. Construction was completed in 1958. Up until 2020 Yamaha were long standing ground floor tenants. Prior to the building of Ithaca House, from 1917 up until 1958, the club rooms were located on the top floor of Michael's Building on the corner of Lonsdale and Elizabeth Streets. The Ithacan Philanthropic Society has been a focal point initially for expatriate Ithacans and as the years have passed it holds many happy memories for Australian born Ithacans through the generations.A coloured photograph of a three storey grey building in a city street with two cars being driven along the road. The Yamaha Motor Bicycle company occupies the ground floor, and in the adjacent building Honda motorbikes are sold. There are curtained windows across the width of the second floor and signage on the top floor windows indicates this level is used for social events such as receptions and dances.

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

One man lost his life during the building of this bridge. The bridge was constructed by the Victorian Railways between 1927 to 1929 to carry a new double track goods line. This enabled trains from all parts of the state except Gippsland to have direct access to the Tottenham marshalling and sorting yards. These yards were constructed in the 1920's to relieve congestion in the Melbourne Yard near Spencer Street station. The congestion was being caused by the construction of suburban passenger platforms associated with the electrification of the suburban railway network. Initially the bridge was for goods trains but during the Second World War it was also used by troop trains. When the standard gauge line was built in 1962 all trains to Albury and Sydney have used this route, thus avoiding travelling through Essendon and Pascoe Vale on the suburban tracks. The standard gauge track across the bridge took the place of one of the broad gauge tracks so broad gauge trains crossing the bridge in either direction have to now use the same track. The bridge is 1,257 feet (383.13 metres) long and 180 feet (54.86 metres) above the water level. It is just 63 feet (19.2 metres) short of a quarter mile in length between abutments. There is a similar bridge on the same railway line crossing the Moonee Ponds Creek between Gowenbrae and Glenroy, however it is smaller at 1060 feet (323.08 metres) length and 115 feet (35.05) height.The bridge is now Victorian Heritage Registered under Number: H1197, and Heritage Overlay Numbers HO5, and HO107. On the Heritage Register it is named RAIL BRIDGE (ALBION VIADUCT). According to the Heritage Report the bridge is scientifically and architecturally important because of its large size, and because of the cost effective design features such as two girders per span (one for each track), the K bracing in the towers, and the broad flange beams as columns. When it was being built it was the largest trestle bridge in Australia, and until the Sydney Harbour bridge was constructed it was the highest railway bridge.449.01 - Maribyrnong railway bridge construction.jpg 449.02 - Maribyrnong railway bridge construction.jpg 449.03 - Maribyrnong railway bridge construction.jpg 449.04 - Maribyrnong railway bridge construction.jpg 449.05 - Maribyrnong railway bridge construction.jpgmaribyrnong river, bridge, quarter mile bridge, trestle bridge

McPherson’s Pump Works was established in 1939 at 213–221 Sunshine Road, Tottenham, as part of McPherson’s shift from hardware merchandising into Australian manufacturing. The McPherson’s Pump Works operated alongside the Wiltshire Files factory. The Wiltshire Files factory was located at the front, facing Sunshine Road, the McPherson’s Pump Works at the rear. The Ajax Pumps Company was the operational name for McPherson’s pump manufacturing division. The Tottenham plant produced industrial pumps, cast metal components, engineering fittings and wartime industrial supplies. The peak operations of the plant were during the 1950’s to 1970’s period. This was before the decline of the late 20th century that saw manufacturing consolidated into fewer sites, and parts of the Tottenham complex were demolished and the remaining structures suffered vandalism and deterioration.Today, the 1939, 1947, and 1965 sections remain highly intact, making the site one of the most important surviving industrial complexes in the region. The site is significant for its association with McPherson’s, one of Australia’s major industrial firms, its role in wartime and post war manufacturing, Its modernist industrial architecture and contribution to the industrialisation of Tottenham and the western suburbs. The site is now protected by Heritage Overlay HO163.An Ajax International series pump casing being machined at Mcphersons Pump Works at Tottenham, Victoria.ajax pumps, mcphersons pump works, sunshine road, tottenham

Photographer notations on slide: Steel Manuf’rs at McPherson’s Ltd 1933 Published: The Age, 30 August 1933 BUREAU OF STEEL MANUFACTURERS OF AUSTRALIA. (1933, August 30). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 25, 2026, from http://nla.gov.au/nla.news-article204372874 Published title: Bureau of Steel Manufacturers of Australia Published caption: A group of Inter-State Visitors, from the Bureau of Steel Manufacturers of Australia, on a tour of inspection at the Bolt Works of McPhersons Pty. Ltd., Burnley-Richmond, yesterday. Research by Project Volunteer, Louise McKenzie: The photo shows a line up of 36 men, in three rows, in front of a building. They are mostly dressed in dark 3-piece suits, or camel coats. But one gentleman stands out in his full length leather coat! Striped ties are popular, and they are all holding hats. One man, at the rear towards the right, looks a bit younger with his thick, black, brylcreamed hair.. These interstate gentlemen are described in the newspaper caption as representatives of the Bureau of Steel Manufacturers "...on a tour of inspection at the Bolt Works of McPhersons Pty Ltd, Burnley, Richmond." Interestingly, the Bureau of Steel Manufacturers of Australia (BOSMA) still exists, and is the industry body for major Australian steel producers like BlueScope, Liberty, and InfraBuild, representing their interests, engaging with government, and participating in standards setting for the domestic steel market, with a history dating back to 1923. While BOSMA focuses on primary manufacturing, the Australian Steel Institute (ASI) serves as the broader peak body for the entire steel supply chain, from mills to end-users, promoting and supporting the industry. But at the time of this photo, the Australian steel industry was just starting to make headway. As the AST website explains, "Steelmaking in Australia began just a decade prior to the start of the 1851 Gold Rush whilst Australia was still divided into colonies. Iron ore deposits were discovered in 1840 at Iron Knob, South Australia but a lack of equipment meant that the process of producing steel was impossible. Even attempts at smelting the iron ore in a blast furnace to create pig iron were unsuccessful due to the poor quality of iron ore and coke available to the budding industry. In the other colonies at the time, such as Victoria, Tasmania, and New South Wales, there were minor discoveries of iron ore but poor technical expertise and limited quantity meant that the quality of steel was poor. Compared to the far superior steel being imported from Britain at the time, the steel manufacturing industry simply couldn’t compete and was unviable. By the 1870s, almost all steel production in Australia had been abandoned. The situation began to change at the turn of the century. Rapid growth sparked higher demand for industrial machinery made from steel and infrastructure such as rail. It became apparent that there was a need for locally manufactured steel and soon there would be an answer. In 1901, the year Australia united into a federation, the nation’s first blast furnace went into production at Eskbank near Lithgow in New South Wales. The development was spearheaded by William Stafford and his son Esk, and Stafford is known as the father of Australian steel production. In 1915, production expanded with another steel mill in Newcastle that was opened by BHP. It sourced coke from local mines and iron ore from South Australia, creating a domestic loop for steel manufacturing. In the following years, more steelworks opened in Whyalla, South Australia and Port Kembla in NSW. Steel manufacturing in Australia was now underway." The company mentioned in the photo’s notation and in the newspaper caption, was McPhersons, "...an Australian hardware firm, for many years a leading merchant of woodworking and metal-working machinery... [and founded by] Thomas McPherson (c.1823–1888) who had a home "Dudley House" at 142 Dudley Street, West Melbourne. [The] ironmongery business [was located] in 1860 at 149 Spencer Street, Melbourne. Merchandise carried included bells, lathes, horseshoes and steam engines." (Wikipedia - McPherson's Pty Ltd) Anyone who has read Robyn Annear’s excellent award-winning 2014 book Bearbrass – the name for early Melbourne - will remember only too well her description of West Melbourne, from where the city of Melbourne as we know it, emerged. Her book resurrects the village that was early Melbourne – from the arrival of white settlers in 1835 until the first gold rushes shook the town – and brings it to life in vivid colour. The McPherson family, whose arrival in Bearbrass coincides with this period (Thomas arrived in 1852), became intimately involved in the growth and development of Melbourne. Thomas was Mayor of Melbourne (1870-1871); his eldest son Hunter became a successful Sydney businessman; second son Edward and third son William inherited the company, and ran it together until 1896 when Edward killed himself. William had a notable career in politics as treasurer of Victoria 1917-1923, in which year he was knighted. 1928-1929 he was Premier of Victoria, and a noted philanthropist. The family were significant property owners in the city of Melbourne: 149 Spencer Street, 582-588 Collins Street, 554-566 Collins Street, together with a property on Jeffcott Street, West Melbourne, and factories in Sunshine, Tottenham, Kensington and Richmond – all by the mid 1940s. By that time they also had controlling interests in several Australasian industries, including Ajax Bolt and Rivet Pty Ltd of NZ, F W Hercus Manufacturing Co Ltd, manufacturers in South Australia of lathes, guillotines and other heavy machinery, also of Patience and Nicholson (P & N), manufacturers in Maryborough, Victoria, of twist drills and thread-forming tools; also Wiltshire Files on Sunshine Road, Tottenham, manufacturing files and rasps. The Acme Machine Tool Company became a branch of McPhersons, and the company claimed to have supplied, from their own manufacture, all five million rivets (some 3,600 tonnes) used in the building of the Sydney Harbour Bridge – described as a steel through arch bridge, which opened in 1932; the tallest of its kind in the world (Wikipedia – Sydney Harbour Bridge) McPherson’s was also innovative in other ways. It published a comprehensive catalogue, extensively detailed with prices, available free of charge to farmers and other businesses. In 1908 it had 148 pages. By 1937 it had grown to 372 pages. The University of Melbourne’s Archives entry on McPherson’s Limited notes: "After the outbreak of the Second World War, McPherson’s factories worked at full capacity and were crucial to Australia’s war efforts. On 5 December 1944 McPherson's converted to a public company named McPherson's Ltd, with William Edward as Chairman of Directors. By the start of the 1950s the company had a very different Board of Directors; in 1947 the Managing Director Oliver Addison died, and his replacement Marshall Eady died only six months later. Both had been Directors since McPherson’s became a proprietary company in 1913. Another Director, Philip Bevan, died in 1948 and this was followed by the death of William Edward in 1950. S.B Holder, F.G. Thorpe, H.L. Hastie, F. Grassick and D.G. Syme all joined the Board before 1950. The company continued to prosper for many years after the death of William Edward. His son, William David, was invited to join the McPherson’s Ltd Board in 1951. He married Angela Cumming in 1955 and soon after was sent to Brisbane as Director in Charge to oversee the building of a new warehouse. The opening of this warehouse in Queensland meant that the company now had major outlets in five states. As time went on, manufacturing in Australia began to decline and imports of everyday tools began arriving from Asia. These tools were being produced with much lower labour costs and could be sold at cheaper prices. William David retired in 1984 and eventually parts of the company were divested, such as the Richmond Bolt Works which closed in the early 1990s. Since the 1980s, McPherson's has diversified into housewares, printing, and health and beauty care products." This article also contains photos, one of which is a photograph of 'Bolt works picnic' 1920, showing workers in their shirt sleeves participating in a tug of war in a rural "picnic" setting. McPherson’s premises at 554-566 Collins Street more than lasted the test of time and is listed as historically significant. The magnificent art deco building from the 1930s in the heart of Melbourne was first commissioned in 1934 and completed in 1937. It is an imposing building fronting almost a quarter of the city block between Spencer Street and King Street, and was designed to be a warehouse, office and showroom for the hardware empire. International architects Stuart P Calder, and Reid and Pearson designed the four-storey building with a basement level and a stair tower at the centre that provides access to what was a tennis court on the roof. It is considered an example of the streamlined modern style in Melbourne and shows how the McPherson company, protected from taxes after World War I, was able to manufacture goods without being affected by the competition. The building has survived, and its current iteration is as the home to il Mercato Centrale – an Italian style artisan market concept. The University of Melbourne Archives hold a particularly good image of the building from its heyday, complete with Collins Street lamps on the pavement outside the store. And to return to our image, sited at "Bolt Works of McPhersons". Today this segment of McPhersons is still very well known - Ajax. A good summary of the company’s history, and the development of the name and business, can be found on the Mine Suppliers Online website: "AJAX Fasteners can trace its heritage back to 1900, when the Acme Bolt Company was established in West Melbourne, Victoria. In 1909, William McPherson used the company as the basis for establishing McPherson’s Bolt Works – adopting the brand ‘Ajax’ – and moved it to Richmond. Over the years, the company changed many times in response to industry needs to ensure that it remained the premier manufacturer of high quality fasteners in Australia. Many other names in the industry, such as Firth Cleveland, Spurway Cooke and Nettlefolds were merged or acquired into the company. McPhersons ended their 80-year ownership of Ajax in the early 90s when they sold their shares to National Consolidated, which was also a major shareholder at the time. In 1997, Ajax Fasteners moved to new purpose-built premises in Braeside, Victoria. Soon after, National Consolidated was taken over by the diversified manufacturer Austrim. The group soon acquired the iconic Nylex, and adopted the name Nylex Corporation. In January 2007, ACME Operations Pty Ltd acquired Ajax Fasteners and continues to operate the business today from the Braeside plant. The name ACME provides a nostalgic return by the new owners to the company’s heritage, when the Acme Bolt Company was founded in July 1900." REFERENCES: BUREAU OF STEEL MANUFACTURERS OF AUSTRALIA. (1933, August 30). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 25, 2026, from http://nla.gov.au/nla.news-article204372874 Wikipedia, McPherson’s Pty Ltd, https://en.wikipedia.org/wiki/McPherson%27s_Pty_Ltd Wikipedia, Richmond, Victoria, https://en.wikipedia.org/wiki/Richmond,_Victoria Industry: From the mid-19th century, Richmond was a centre of manufacturing industry, including many large complexes such as the Bryant & May match factory, Jaques Limited engineering works, the Wertheim Piano factory and Pelaco. Wikipedia, Sydney Harbour Bridge, https://en.wikipedia.org/wiki/Sydney_Harbour_Bridge eMelbourne, Manufacturing, https://www.emelbourne.net.au/biogs/EM00896b.htm 'New life for Melbourne's McPherson Building', The Urban Developer, https://www.theurbandeveloper.com/articles/mcphersons-building-melbourne-il-mercato-centrale-food-retail-destination Bureau Of Steel Manufacturers Of Australia Limited, http://www.bosma.org.au/ 'A Brief History of Steel Manufacturing in Australia', AST, https://astraders.com.au/a-brief-history-of-steel-manufacturing-in-australia/ 'Steel manufacturing in Australia: a brief history', Hard Bakka Steel Fabrication, https://www.hardbakka.com.au/component/virtuemart/steel-manufacturing-in-australia-a-brief-history?Itemid=494 McPherson's Limited, University of Melbourne Archives, https://archives.library.unimelb.edu.au/nodes/view/58364 Source of Description: 'Nuts and Bolts: A story of a family and a firm', Barbara Hamer (2006), McPherson’s Printing Group 'Photograph of 'Bolt works picnic' 1920', University of Melbourne Archives, https://archives.library.unimelb.edu.au/assets/display/1287217-max?u=dea2e4d2fd07ac822e624f1e7d39adb3 'Photograph of the exterior of the McPhersons Department store at 546 Collins Street, Melbourne.', University of Melbourne Archives, https://archives.library.unimelb.edu.au/assets/display/1287215-max?u=12430d30453a77059b7d10d49006a521 Robyn Annear, Bearbrass: imagining early Melbourne, Black Inc., 2014 (originally published 1995 by Mandarin) 'Company details', Ajax Fasteners, http://www.minesuppliersonline.com.au/australia/braeside/hardware/ajax-fasteners 'Former McPherson's Building', Victorian Heritage Database, https://vhd.heritagecouncil.vic.gov.au/places/741Photographer notations on slide: "Steel manuf'rs at McPherson's Ltd 1933 B5".1930-1939, industrial workers, clothing and dress, 1930, iron and steel industry, businesses, bridges, industry, melbourne, gold rush, moderne style architecture

A copy of a set of architectural drawings for Kooringa Guest House in Marysville. The original drawings were produced in February 1998 by Watt & Paulberg Architects.A copy of a set of architectural drawings for Kooringa Guest House in Marysville.marysville, victoria, australia, kooringa, frederick webb, cuzens brothers, betha wilhelmina christina unmack, minnie webb, t.e. foster, edgar charles webb, clarence thomas pitman, jacob pitman, sir isaac pitman, caroline anna blood newenham, henry newenham pitman, carrie rosalind persse pitman, reginald william stringer, alice burton pitman, clarence edward pitman, newenham mueller pitman, olive birch, constance may pitman, olive dora blakeney pitman, gwendoline de burch pitman, kooringa guesthouse, lilian may shelton, thomas henry branchflower, wilbur anderson, peter mackey, caroline anna pitman, joyce anderson, barry brenton, kathy brenton, kooringa tourist house, photograph, kooringa conference centre, kooringa resort and conference centre, watt & paulberg architects

This photo depicts Arthritis Victoria member and Shops Co-ordinator, Margaret Scott, inspecting the multiple poster display on the glass door and large display window of a shop. The posters all relate to managing arthritis and the chronic pain associated with the condition. The shop appears to be in an arcade. The wooden architectural feature above the door and display window appear to be exactly the same as that found in some photos of the AFV opportunity shop in Phillip’s Arcade, Moonee Ponds.COL photo of a woman inspecting a shop's open glass door and large display window. Both the door and window are completely covered with a range of arthritis-related posters. One poster depitcs a dancer; another poster depicts a woman playing lawn bowls; another poster depicts two people walking along a path in a park; another poster depicts an illustration of a person. There are duplicate posters of each design covering the shop's door and window. The shop appears to be in an arcade.[Handwritten in blue ink] See my posters?arthritis foundation of victoria, afv, margaret scott, shops coordinator, pain management, posters, shop, c1990s

index, ill, maps, p.337.non-fictionDetails of the architecture of railway stations building in Victoria Australia in the 19th century.railroad infrastructure - victoria, railroads - victoria - history

After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Venetian prince set against eastern buildings, seas, gondolas and ships with eastern architecture, symbols and camels. A dragon and elephant in prince's diadem and hair. Library details surrounding sun and moon either side of main figure all in bi-coloured inks.Inscribed beneath image, "The Secrets of the Silk Road" Ex Libris Biblioteca Bodio Lambnago - Etching Natalija 2019

Princes Bridge Centenary pylons under construction Possibly taken from Young and Jacksons Hotel (formerly Princes Bridge Hotel) on the corner of Flinders and Swanston streets, Flinders Street Station’s clocks and main entrance dominate, along with its distinctive copper dome and decorative façade. The time on the main clock is 1.40pm, and the sign underneath, reflecting Melbourne’s upcoming Centenary reads, “We must accommodate our Centenary visitors! Citizens! Do your share by taking paying guests.” At left is the original Princes Bridge Station, today the site of Federation Square. The riverside tram terminus advertises a Café/Tobacconist/Refreshment Room selling cigars & cigarettes, fountain drinks & confectionery, and in smaller text: “Leave your boot repairs here”. Nearly everyone is dressed in dark suits, coats and hats. The footpaths are wide and there are no traffic lights. The roadway stretches towards the Shrine of Remembrance, not yet dedicated but very dominant on the skyline. Government House is clearly visible across the wide parkland that would come to be known as Kings Domain and that is an area of deep importance to the people of the Eastern Kulin. Originally, Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, Public Works Department engineer Carlo Catani, oversaw a new channel to straighten the river and the swamps and lagoons were filled with spoil from the channel works. From the same vantage point today, only the top of the tower of Government House would be visible. The photo captures the pylons along Princes Bridge, mid-construction and being installed to mark Melbourne’s Centenary. The pylons were not without controversy. Both The Argus and The Age bemoaned them for being “made almost entirely of imported softwood timber”, denying work to native hardwood timber workers and sawmillers, and leading visitors to think Australia did not have its own exceptional native hardwoods. The pylons were also variously described in their incomplete state, as unimaginative and resembling an oilfield. Published: The Age 5 September 1934 Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Louise McKenzie Photographer notations on slide: "Pylons + St Kilda Rd C57" Published: Age (Melbourne, Vic. : 1854 - 1954), Wednesday 5 September 1934, page 11 Published title: DECORATIONS -- THEN AND NOW. Published caption: "Although not completed yet, some impression of the effect of the decorations on Princes-bridge may be obtained from the first picture which shows the majestic sweep of St Kilda road with the Shrine of Remembrance and Government House dominating the horizon. The area to the left of St. Kilda-road and in front of Government House is portion of the area which it is proposed to call the King's Domain, which extends to Domain-road and Anderson-street..." Description: East-facing, elevated view of Flinders Street Station and Princes Bridge, featuring partially completed pylons erected for Melbourne's Centenary celebrations. The Shrine of Remembrance and Government House can be seen in the distance. In the foreground are trams, cars and trucks, pedestrians, Batman Avenue tram terminus and refreshment rooms. Signage on Flinders Street Station encourages citizens to accommodate Centenary visitors. The Melbourne Centenary was held 1934-35 in celebration John Batman's proclamation that Melbourne "the place for a village". Centenary events included a visit by Prince Henry, Duke of Gloucester. A Centenary Cake measuring 50 feet in height and ten tons in weight was cut into 250,000 pieces and sold at 1 shilling per piece for charity. Spectacular floodlighting of city landmarks, the creation of the Pioneer Women's Memorial Garden, and the MacRobertson Air Race from London, were other notable activities. Research by project volunteer, Louise McKenzie: The photo in The Age collage of 5 September 1934 has a slightly cropped foreground. The original photo has been taken from an elevated vantage point, most probably the roof of the Nicholas Building on the corner of Flinders and Swanston streets. The right foreground is dominated by the main “clocks” entrance to Flinders Street Station, showing its distinctive copper dome and decorative façade. The time on the main clock is 1.40 pm. The main sign on the front of the Station reads, "We Must Accommodate our Centenary Visitors! Citizens! Do your share by taking paying guests. Write to The Official Centenary Accommodation Bureau, 436 Collins St. City. Tel M 4671”. Another sign at eye level at the main entrance says: “Cheap Trips on Sundays”. The sign on the end of the roof along the eastern side of the station reads, “The Babies Need Your Help! Support Broadmeadows Foundling Hospital Appeal. July and August”. Run by the Sisters of St Joseph of the Sacred Heart, St Joseph’s Foundling Hospital was a purpose built infants’ home for up to 300 babies, plus accommodation for expectant mothers, mainly single women. In the early 1930s, the department (Victorian Children’s Welfare Department) contracted St Joseph’s Foundling Hospital to care for an additional 60 infant state wards, and up to 175 non wards at any given time. In 1931 it also operated a mothercraft training school. The centre foreground shows the commencement of Princes Bridge. Beneath the left side of the bridge was the site of the original Princes Bridge Station, by this time incorporated into Flinders Street Station, and today the area is the site of Federation Square. It was linked to Flinders Street station by the railway tracks that ran underneath the northern approach to the bridge. This photo shows a tram terminus which has a Café/Tobacconist/Refreshment Room, selling cigars & cigarettes, fountain drinks & confectionary, and a sign: Leave your boot repairs here. In the foreground is a wide roadway running south/north, comprising two vehicle lanes each heading north/south, and a central section containing two sets of tram tracks. There are cars, buses and delivery vans on the roadway. The trams visible are Glen Iris (Route No. 6; tram no. 448), Toorak (Route No. 8, tram no. 333), ? (No. 7), ? (No. 1), and ? (No. 2A). The footpaths are extremely wide. There is a square newspaper/magazine stand on the eastern side footpath. And also a “Ferry” sign. There are no traffic lights, but a policeman is visible on the roadway. There are pedestrians – men, women, children, a porter with trolley, women with prams. Clothing comprises dark suits, coats and hats for nearly everyone. There are double headed “Collins Street” lights along the side of the roadway, and along the northern riverbank. The roadway in the foreground is an extension of Swanston Street, which becomes Princes Bridge, then St Kilda Road, stretching towards the Shrine of Remembrance, and diverting past it. The Shrine had not yet been officially dedicated, and looks very white and dominant on the skyline. On the LHS of St Kilda Road, Government House is clearly visible across the wide parkland to be known as Kings Domain. The Kings Domain area is important to the people of the Eastern Kulin nation, and also has historical importance for its association with the early settlement of Melbourne and the foundation of British colonial administration in Victoria. On the southern side of the Yarra River (Birrarung) an historic rowing boathouse is visible, located adjacent to the Alexandra Gardens. Originally Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, under the guidance of engineer Carlo Catani* a new channel to straighten the river was created and the swamps and lagoons were filled with spoil from the channel works. The gardens were then created and completed in time for a Royal visit by the Duke of York in May 1901. The gardens are named after Alexandra of Denmark, the wife of King Edward VII. Both these areas, plus the Royal Botanic Gardens Victoria, Shrine of Remembrance Reserve, Sidney Myer Music Bowl, Government House, and the Queen Victoria Gardens together form the Domain Parklands. The extent of the subsequent plantings is evident today, where from the same vantage point only the top of the tower of Government House would be visible. *Catani was born in Florence in 1852, but after arriving in Melbourne worked as a civil engineer for the Victorian Government. His last major project was the reclamation of the foreshore of St Kilda, envisaged in the style of a European resort, complete with a split level esplanade, bathing pavilions, dance halls, amusements and a French-Italian style of landscape complete with palms. The gardens at the end of Fitzroy Street, St Kilda, now bear his name. The historic boathouse visible across the Yarra is another glimpse into Melbourne’s past. “Boathouse Row” comprises 7 amateur rowing clubs, the first established in 1859 (Melbourne University Boat Club). Other Clubs were Richmond, Melbourne, Banks, Melbourne Grammar School, Yarra Yarra and Mercantile. South of the river and west of the bridge is an area today developed into the Melbourne arts precinct of Hamer Hall and the Arts Centre. But at this time it was the home of Wirths Olympia Circus, which comprised Wirths Pleasure Park (an amusement park), a 5,000 seat auditorium – Hippodrome, a roller skating rink, a glaciarium, a cinema, and the Green Mill Dance Hall. Dog shows were also held at Olympia. The Green Mill Dance Hall closed in 1950, and the remainder of the Wirth buildings on site were destroyed by fire in December 1953. The feature of the photo is the pylons erected along Princes Bridge to mark Melbourne’s Centenary in 1934. The sixteen plastered pylons were designed by Roy Prentice, the second person to qualify as an architect at The University of Melbourne’s Bachelor of Architecture degree, in 1933, aged 27. Simon Reeves in his article marking the 100th birthday of Roy Prentice on 20 June 2006 reports that the State Electricity Commission sponsored this work, and the Argus reported that “… the pylons were “illuminated from within to give the effect of soft radiance”. Australia Home Beautiful 1 Oct 1934 reports in a very detailed and comprehensive article: The 10 taller pylons, including flagpole, were 48 ft, with a base of 8 ft. Timber-framed and faced with fibrous plaster and galvanised sheet iron, each structure was securely bolted to a concrete foundation three feet in depth. Panels of glass let into the shaft of each pylon were indirectly lit by 40, 100 watt lamps, and the upper bank of internal lamps were dyed so as to flood the panels with a deep red light. The decorative painted shields and flagpoles/pennants were illuminated by three 200 watt projectors concealed in the roof of each pylon, and were part of an electric night light decoration scheme involving 28 miles of wire to supply more than 20,000 lights. An article in the Argus on 18 October 1934 provided minute detail of the lighting erected in Melbourne for the Centenary, converting it “… into a coloured fairyland by night.” The estimated cost of 10 pounds per hour the lights were on. The display included 800 standard light poles 30 feet high which were tiered with electric bulbs concealed in inverted cones, 138 specially designed “Venetian poles” draped in flags trophies and streamers. The streets included in the electric night light decoration scheme were Bourke Street from Spring to William, the entire length of Collins Street, Flinders Street from Elizabeth to Spring, Lonsdale Street from Elizabeth to Swanston, Swanston and Elizabeth Streets from Flinders to Lonsdale, and parts of Springs and Spencer Streets. Together with the Princes Bridge pylons, approximately 28 miles of wire was required to supply power to the more than 20,000 lights. And that is just in the city of Melbourne. It was estimated the same amount of lighting was duplicated among other local councils. The pylons were not without controversy. The Argus on 28 August 1934 in an article headed “Imported Timber in Pylons” reported that the Princes Bridge pylons are “made almost entirely of imported softwood timber”, and have therefore denied work to native hardwood timber workers and sawmillers. The same day the Melbourne Age ran a similar story, bemoaning the fact that foreign oregon had been used which may lead tourists to think Australia did not have its own exceptional native hardwoods. A Camberwell City Councillor described the pylons as unimaginative, and the Herald reported that skeletons of pylons for the Centenary decorations in their present form led the area to resemble an oilfield! The Yarra River and Princes Bridge have long been a focal point of Melbourne life. In the early days of European settlement in Melbourne a rope-hauled punt carried people across the Yarra River. A surge in population and increased shipping traffic created a need for a bridge. There was difficulty in agreeing on a suitable site for the bridge (options were crossing at Elizabeth, Swanston, Queen or Market Streets), but the NSW Government favoured Swanston Street and the Melbourne Town Council decided on a temporary bridge across the Yarra spanning from the foot of Swanston Street. This first bridge was a single span timber toll bridge designed by Scottish born bridge designer David Lennox, and completed in 1845. It was 120 feet long, had a roadway of 17 feet wide, and a footpath on one side of 4 feet. It was leased to the Melbourne Bridge Company in the name of Robert A Balbirnie. The tollhouse was on the north side of the river and the toll keeper, Patrick Doherty, was credited with saving nine lives during the four years he was in charge of the toll station. The second bridge was stone (completed 1850), and named Prince’s Bridge after the HRH Prince of Wales, later Edward VII. It was designed with an elliptical single arc and an exceedingly small rise in proportion to the span. However, this design created an obstacle for flood waters, and together with Melbourne’s increasing population it was quickly apparent that a new bridge was required. At its opening on 15 November 1850 coincided with the imminent declaration of Victoria as a separate colony, it provided a moment of great celebration for Melbournians and “The opening ceremony was described as the grandest processional display witnessed in the colony.” (ToMelbourne.com.au) Princes Bridge in its present form, as depicted in this photograph, was designed by Jenkins, D’Ebro and Grainger, and constructed in 1886-88 by David Munro. John Grainger (father of Australian composer Percy Grainger) did the majority of the design work for the bridge. The structure was to have three arches each 96 feet wide measured across the river, and the banks on both sides were raised to allow more space for floodwater to flow. St Kilda Road was originally many feet below the current level. The bridge is of architectural significance for its substantial size, giant half columns, extensive use of wrought and cast iron, decorative elements (cast-iron lamps) and the skilled stonemasonry in the construction of the abutments and piers. Its main design features are similar to those of Blackfriars Bridge in London (1870). The bluestones were quarried from Footscray, the Malmsbury stones were from quarries at Kyneton, and the granite from Harcourt. The cost was met by the State of Victoria, City of Melbourne, and six out of seven of its municipalities, and their coats of arms feature on the bridge. The building of the bridge reflected the boom period of Melbourne, including the Victorian gold rush 1851- late 1860s, and its contractor, David Munro, was also responsible for the construction of Queens Bridge and Sandridge Railway Bridge. The Centenary pylons are no longer in place, but today this intersection still plays a major part in Melbourne’s daily life: people still meet “under the clocks” at Flinders Street station, and the route in and out of the city along St Kilda Road is often a feature of parades such as Moomba, the Grand Final Parade, and of course the Anzac Day Parade which commences at the Princes Bridge intersection and finishes at the Shrine of Remembrance. There are many tram routes, which cross the Bridge, and it directs pedestrians towards the Arts Precinct, the various components of Domain Park, plus the Southbank restaurant and rowing precincts. Even though this is a street scene, it feels very intimate; the viewer is instantly immersed in the activity of a Melbourne afternoon, looking down St Kilda Road from a viewpoint near today’s Federation Square. References: DECORATIONS -- THEN AND NOW. (1934, September 5). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205880269 'Flinders Street railway station', Wikipedia, https://en.wikipedia.org/wiki/Flinders_Street_railway_station 'St Joseph’s Foundling Hospital (1901-75)', Finding Records, Department of Health and Human Services, State of Victoria, https://www.findingrecords.dhhs.vic.gov.au/collectionresultspage/St-JosephsFoundling-Hospital-Babies-Home#departmental-administration 'Alexandra Gardens', City of Melbourne, https://www.melbourne.vic.gov.au/community/parks-open-spaces/major-parks-gardens/Pages/alexandra-gardens.aspx 'Wirths Circus', Wikipedia, https://en.wikipedia.org/wiki/Wirth's_Circus 'Roy Prentice: Centenary Architect', Built Heritage Pty Ltd, Simon Reeves, https://www.builtheritage.com.au/downloads/prentice.pdf 'Princes Bridge', Heritage Council Victoria, https://vhd.heritagecouncil.vic.gov.au/places/817 PORT PHILLIP. (1846, April 1). The Sydney Morning Herald (NSW : 1842 - 1954), p. 3. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article12886251 'Edward VII', Wikipedia, https://en.wikipedia.org/wiki/Edward_VII 'Princes Bridge', ToMelbourne.com, https://tomelbourne.com.au/princes-bridge/ 'Princes Bridge', eMelbourne, https://www.emelbourne.net.au/biogs/EM01189b.htm 'Princes Bridge', Australia for everyone, http://australiaforeveryone.com.au/files/melbourne/princes-bridge.html 'Victorian gold rush', Wikipedia, https://en.wikipedia.org/wiki/Victorian_gold_rush IMPORTED TIMBER IN PYLONS (1934, August 28). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10952507 Princes-Bridge Pylons. (1934, August 28). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205532235 Pylons Appear Near Princes Bridge (1934, August 18). The Herald (Melbourne, Vic. : 1861 - 1954), p. 1. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243104375 PRINCES-BRIDGE PYLONS. (1934, September 20). The Age (Melbourne, Vic. : 1854 - 1954), p. 10. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205873535 28 Miles of Wire (1934, October 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 1 (The Junior Argus). Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10977836 'Historical references for Boathouse Row, Melbourne', http://boathouserowmelbourne.com.au/history/ 'ITALIAN DELEGATION TO HONOUR CARLO CATANI, DESIGNER OF THE ST KILDA FORESHORE, St Kilda Historical Society, 2001, https://web.archive.org/web/20070928061938/http://www.skhs.org.au/~SKHSarticles/articles/Carlo_Catani.html# HISTORY IN LIGHTS (1934, July 12). The Herald (Melbourne, Vic. : 1861 - 1954), p. 16. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243172436 'Dressing Melbourne for the Duke', The Australian home beautiful: a journal for the home builder. Vol 12 No. 10 (1 October 1934), page 21, 58. Retrieved September 14, 2023, from http://nla.gov.au/nla.obj-2950922209Photographer notations on slide: "Pylons + St Kilda Rd C57".centenaries, bridges, lighting, flinders street railway station

Seven seated and fifteen standing men dressed in suits around a long table in a panelled room hung with formal portraits of men. A trophy sits on the long table amongst loose paper sheets. Research by project volunteer, Fiona Collyer: The Commercial Travellers’ Association of Victoria (CTA) was formed at a meeting of 40 commercial travellers held at the Duke of Rothesay Hotel, 24 Elizabeth Street on 1 December 1880. Their charter was to advocate for better working conditions for commercial travelling salesmen, including improved accommodation at discounted rates and travel concession fares. At first by locomotive, horse and buggy, steamers and horseback, later also by motor car and motorcycle, “The Man on the Road” went into the back-blocks of the country to extend the interests of commerce to the stores and households of Australian regional towns and isolated settlements. Affiliated organisations existed in all states and New Zealand and in 1895 they integrated to form the United Commercial Travellers’ Association of Australasia (UCTAA). By the turn of the 20th century, the Victorian branch of the CTA had 421 Association Members and 520 Club members. The CTA continued to hold meetings in leased rooms in hotels and offices until 1898 when they commissioned purpose-built premises at 190-192 Flinders Street (extant, now the Macstore, next to former Metropolitan Gas Company Buildings). Designed by leading architectural firm of brothers H.W. & F.B.Tompkins (Dimmey’s Model Store, Swan Street, London Stores, Herald and Weekly Times, Myer building, Diamond House, Centreway Arcade, Manton’s Store) in the Queen Anne Revival style at the cost of £20,000, the four storey building had a facade of red Northcote bricks and an entrance of Pyrmont stone. It was very modern for the time, featuring elevators, offices, bars, kitchen, dining, card and billiard rooms and 31 bedrooms with shared bathrooms for the footsore travellers. However, despite adding two storeys in 1901, and another storey and a basement in 1905, they soon outgrew their premises, and in 1912 the CTA commissioned a new building at 328 Flinders Street. At this time, buildings in Melbourne were constrained by the city height limit of 132 feet (40 metres)- the maximum height of firefighting ladders. The new CTA building was the tallest building in Melbourne until 1932 when regulations changed allowing the Manchester Unity Building to be built. The new CTA headquarters was the epitome of comfort and luxury with cutting edge facilities to ease the fatigued salesman and prepare him for another stint on the road. General Secretary, James Davies travelled to Britain and America to acquire the very best and latest innovations. After visiting the new premises, Punch magazine 11 June 1914 reported “furnishings, appliances, and labour-saving conveniences which were more than up to date- they were up to-morrow.” The Edwardian Baroque style building was again designed by architects H.W. & F.B. Tompkins at the cost of £100,000 and built by contractors F.E. Shillabeer and Sons (Nicholas Building, Kellow-Falkiner Pty Ltd car showroom). The nine storey plus basement building is of steel frame construction with concrete floors. The ground floor facade is of grey granite and above that it is faced with cream glazed bricks chosen to combat discolouration from the pollution emitted by Flinders Street Station trains across the road. The facade is decorated with mascarons, gum leaf trim and balconies with classical style balustrade. The club was entered through revolving doors into a two storey high, circular, domed lobby with white columns, American oak panelled walls and intricate mosaic flooring. The ceiling is festooned with plaster gum leaf and gum nut detail, a theme that is repeated throughout the building. The basement kitchen had modern, labour saving appliances that would be the envy of any Edwardian housewife, including an electric toaster, a potato peeling machine, heated dumb waiter, dishwashing machine and electric refrigeration and cooking. It serviced the commodious second floor dining room which seated 200 people and the cafe/breakfast room, 80 people. Members were permitted to entertain their lady friends there for afternoon tea between the hours of 3 and 5 pm every day, except Sunday. The members’ facilities included a barbershop, clothes pressing machine, boot cleaning chair, pipe and cigar stall with electric humidor, public telephones, lockers and safe deposit. The building was serviced with five elevators, a built in vacuum cleaning plant, hot water radiators and linen and postal chutes. The first floor was devoted to business and relaxing, containing the Board, Writing, Reading and four Business Rooms. The board room had Queensland maple panelling with huge blackwood tables topped with blue morocco and golden tortoise-shell trim and cane bottomed chairs. Large framed photographs of past presidents since 1884 lined the walls. The Reading Room ran the whole width of the building. Arthur Streeton’s painting “Between the Lights, Princes Bridge 1888” and Frederick McCubbin’s “Looking North from Mount Macedon” were hung there, as well as paintings by renowned Australian artists Hans Heysen, Walter Withers, John Mather, Jan Hendrik Scheltema. The Argus 30 May 1914 quipped “Around the walls hang evidences that the commercial traveller's soul has not been killed in his pursuit of commerce”. The blackwood panelled room was furnished with Queen Anne style tables and chairs and green leather armchairs with inviting rocker foot rests allowing weary travellers to relax after traversing the railways and dusty roads of Victoria while planning their next sales trip. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 noted “An attendant will be constantly employed on this floor to take care of the stationary supply, to tidy up newspapers, and generally study the convenience of members.” The third floor was for amusements with billiards, a bar and four rooms for playing cards, dominoes and chess. The huge billiard room had seven Alcock billiard tables including a table in a partitioned match-room for tournaments, exhibitions and matches. The walls were lined with members’ cues and for spectators, comfortable lounges with marble topped tables and electric bell pushes for drinks service. There were 150 bedrooms over five floors, each with their own telephone and wash basin and five suites with a private sitting room attached. There were four bathrooms per bedroom floor and capacious, well-lighted shaving rooms. Top rate club tariff for bed and breakfast - 6 shillings, if called for a country train leaving Melbourne before 8am - 4 shillings, suite and breakfast- 9 shillings, sixpence. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 reported “All “early calls” will be made from the Club Office to Bedrooms by means of the Telephone, so that instead of waking everybody else up on the corridor, only the member concerned will know that it is his unpleasant duty to get up.” The new CTA premises was widely regarded as the finest club in the Southern Hemisphere. The CTA also built the adjacent six storey Commerce House with 52 sample rooms for travellers to display their wares with the remainder rented to retail businesses and a post and telegraph office. After the CTA moved into their new, larger premises in 1914, neighbouring department store Ball & Welch expanded into the former CTA. The CTA saw themselves in a nation building role and were an influential lobby group to the Government. They advocated for inter city trunk telephone lines, standard gauge railway lines between NSW and Victoria, improved roads and highways, the Murray River water scheme and maintaining the White Australia Policy. They were very active in fund raising for the war efforts. The CTA offered its members support in other ways with benevolent funds for widows and orphans, mortuary, accident, sickness and an annuities fund for members over 65 years. There were scholarships for members’ children and home purchase scheme to assist with home ownership. A secondary membership scheme provided access to non commercial travellers (men only) to its exclusive club premises. They also organised social events and activities such as billiard tourneys, golf tournaments, dances and an annual “Smoke Social” which was a social event where men gathered for a formal dinner, community singing, lectures, speeches and of course, to smoke! Daylesford born James Davies OBE, (1865-1931) worked at the CTA for 50 years, starting as an office boy and working his way up to General Secretary and editor of the monthly trade journal for UCTAA members, “The Traveller” (1890-1905, later “The Australasian Traveller” 1905-1924 and then “The Australian Traveller” 1925-1976) and the annual colour supplement magazine “Australia To-Day” (1904-1973). “The Australasia Traveller” featured commentary on the issues of the day like wars, tariffs and trade, articles on new products and hotel recommendations and their rates and lots of advertising, especially alcohol, tobacco and accommodation in regional hotels. There were regular columns, each illustrated with a line drawing and these included “Our Immigration Record” a state by state summary of arrivals of “desirable immigrants” to Australia, while bemoaning the declining (white) birth rate. The column followed the arrival of British boys sent to Australia as agricultural apprentices to work on rural properties which were short of labour. Between 1913-1928, 1750 “Barwell Boys”, some as young as 14 years of age arrived in South Australia to work. NSW had a similar program known as the Dreadnaught Boys Scheme where 5595 boys immigrated between 1911-1939. The boys were considered of “good British stock”. There was a “Home Page For The Ladies” showcasing the latest fashions in women’s clothing, millinery and hairstyles and tips and trends in home furnishings.“Children’s Corner for Dear Little Folks” which featured puzzles, jokes and stories and members could send in photographs of their children. “Road Echoes” devoted to “The Man On The Road” and his doings. “Face Massage, Smiling is the Best Face Massage”, the humour page full of jokes and funny stories. “Railway Rumbles” news of innovations, timetables, tickets and grumbles about lavatories, food and drinking water on trains and at railway stations. And in case we forget that members had a home away from their CTA home, gardening tips with “The C.T. as Gardener”column. The annual magazine “Australia To-Day” was a vehicle to promote Australia here and overseas as a modern, prosperous country with abundant opportunities and pleasant climate. It sought to showcase its manufacturing, agriculture and tourism and encourage British immigration to Australia. The magazine featured articles about recently arrived migrants at work, quirky native flora and fauna, beach culture, recreation and the Australian way of life in the settler nation. Many of the articles were written by politicians of the day, including Robert Menzies. The UCTAA commissioned original artwork for the front covers and feature articles of “Australia To-day” from leading Australian artists. These included Norman Lindsay, Frederick McCubbin, Napier Waller, Lionel Lindsay, Hans Heysen, C Dudley Wood, Louis McCubbin, Penleigh Boyd, Louis Buvelot, Christian Waller and Ellis Rowan and her Australian wildflowers. Some of the photographs in “Australia To-Day” were provided by state and federal government departments as well as manufacturers, newspapers and mining companies. Amongst of the credited photographers was Helmut Newton who later earned world acclaim as a fashion photographer and architectural and industrial photographer Wolfgang Sievers (unfortunately their photographs remain in copyright and aren’t available online). Also featured was Richard C. Strangman, a professional photographer from Canberra, William Howieson of Melbourne, who has 22 photographs in the collection of NGV, Tasmanian wilderness photographer Frederick Smithies, Athol Shmith, portrait photographer and educator from Melbourne, Gordon de Lisle, a Melbourne commercial, industrial, aerial and society portrait photographer. (One of Gordon’s assignments was as the stills photographer for the 1959 movie “On The Beach” filmed in Melbourne). Photographs taken by acclaimed Antarctic and official war photographer Captain Frank Hurley OBE for Adelaide’s Centenary were also featured. The Australian Government was keenly aware of the influence and quality of the UCTAA publications. On 1 June 1914 The Age reported that to advertise Australia in Great Britain and elsewhere, the Department of External Affairs purchased 6500 copies of “Australia To-Day” magazine for £515 to distribute free to “places where they are most likely to come under the notice of a desirable class of immigrants.” In 1950, the office of Prime Minister Robert Menzies ordered 2550 copies of that year’s issue of “Australia To-Day” for the Department of Commerce and Information to distribute. The CTA donated their archives to University of Melbourne Archives which includes original artworks and photos used in “Australia To-Day” (Melbourne University has digitised 1114 photos) and sundry items including trophies, ashtrays, commemorative souvenirs, menus, a rare “Safechek” sovereign changer, a bust of James Davies and even a CTA embossed wash bowl and chamber pot. After the death of General Secretary James Davies in 1931, the CTA held the annual “James Davies Memorial Cup” golf tournament at various Melbourne golf courses, the winner receiving a splendid silver cup. “Table Talk” magazine photographs from 29 June 1933 depict the travellers beautifully (and I would say correctly) attired in tweedy plus fours, Fair Isle knitwear, flat caps and of course fringed brogues. I have been unable to ascertain whether the trophy in our photo is for golf or another CTA social activity. The CTA Victoria membership peaked in 1951 with 4,672 Aassociation members and 3,693 Club members. In 1959, Hollywood came to Melbourne when film stars Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire descended to film ‘On the Beach,’ directed by Stanley Kramer. The film is based on the bestselling Neville Shute novel about the aftermath of World War Three, a nuclear war that has obliterated most of the Northern Hemisphere. Radioactive dust is heading toward Australia and everyone is preparing for death. Scenes with Anthony Perkins were filmed in the CTA billiards room as the exclusive Pastoral Club. Anthony Perkins’ character, Lieutenant Commander Peter Holmes of RAN tells Gregory Peck’s character, Commander Dwight Lionel, that The Pastoral Club is…”A mahogany and polished brass sort of place-some people claim it was the stuffiest club in the Commonwealth” before assuring him that despite shortages, the club is likely to have some Scotch left. In a scene at the Pastoral Club two, old (probably red faced) codgers discuss the challenge of drinking all of the 400 bottles of Gould Campbell vintage port in the club wine cellar before they succumb to radiation sickness in five months time. The NGV has 12 photographs in their collection of wardrobe stills of Ava Gardner modelling costumes designed by the Fontana Sisters of Rome for “On The Beach”, taken by Italian photographer G.B.Poletto. During the filming, Gregory Peck and his family stayed at “Kurneh” 206 Domain Road, South Yarra, the former home of three times Grand Slam winner Norman Brookes. Through the decades, Australian society was changing and in order to stay relevant, the CTA had to change too. In 1971, two women were elected for club membership, although they were only granted limited access to the club’s facilities and in 1972, women were invited for the first time to participate in the previously men only annual “Smoke Social”. In 1975, dwindling membership forced the closure of The Commercial Travellers’ Association building and in 1977, the building was sold, with the CTA ceasing to operate in 2014. It was the end of the road for the “Knights of the Road”. In 1992, the CTA building at 328 Flinders Street was placed on the Victorian Heritage Register in recognition of its architectural and cultural significance. The building has been meticulously restored with many of the original fittings, decorative plasterwork, mosaic flooring, stained glass windows, columns, chandeliers and the panelling made from Australian timbers retained. After renovations the building became first the Euro Asia Hotel, then the Duxton Hotel and in 2005 The Rendezvous Hotel, Melbourne. In tribute to the history of the building and the film “On The Beach”, the Rendezvous Hotel has the Ms Ava Bar, Perkins room, Mr Tompkins restaurant, Commerce Room and the Davies Room. References: COMMERCIAL TRAVELLERS' ASSOCIATION OF VICTORIA. (1899, May 27). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 25. Retrieved February 21, 2025, from http://nla.gov.au/nla.news-article138615498 COMMERCIAL TRAVELLERS. (1914, May 30). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved February 13, 2025, from http://nla.gov.au/nla.news-article7272511 NEWS OF THE DAY. (1914, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 8. Retrieved February 19, 2025, from http://nla.gov.au/nla.news-article189414314 COMMERCIAL TRAVELLERS' "AT HOME." (1914, June 11). Punch (Melbourne, Vic. : 1900 - 1918; 1925), p. 32. Retrieved March 19, 2025, from http://nla.gov.au/nla.news-article129699692 https://archives.library.unimelb.edu.au/nodes/view/69669 https://vhd.heritagecouncil.vic.gov.au/places/757 http://www.pikitiapress.com/blog/2015/1/26/australia-today Commercial Travellers at Yarra Yarra (1933, June 29). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 6. Retrieved February 28, 2025, from http://nla.gov.au/nla.news-article149547845 https://archives.library.unimelb.edu.au/nodes/view/537460 https://viewer.slv.vic.gov.au/?entity=IE7420895&file=FL19171568&mode=browse https://www.history.sa.gov.au/wp-content/uploads/2021/03/Barwell_Boys_Catalogue-compressed-compressed-compressed.pdf Australia Today," 1927 (1926, December 11). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 15. Retrieved March 17, 2025, from http://nla.gov.au/nla.news-article223844810 https://blogs.unimelb.edu.au/librarycollections/2020/12/19/an-inhabited-space-helmut-newtons-lovers/ https://www.ngv.vic.gov.au/explore/collection/artist/2075/ https://www.ngv.vic.gov.au/?s=Poletto+&type=collection https://rendezvousmelbourne.com.au/digital-history-tour/Photographer notations on slide: "Commercial Travellers Group B6".clubs, department stores, 1930-1939, commerce, manufacturing, federation/edwardian style architecture, railways, tourism, games, agriculture

Set of 12 flags collected by the donor, unused, manufactured during the late 1980s. 1 - Australian flag - see also item 790 for a used example 2 - Support Legacy 3 - March is Red Cross calling month. 4 - 100 years of trams - see also item 2608 5 - Victoria 150 6 - Architecture Week 7 - Energy Week - May 1987 8 - Spoleto festival - blue background 9 - Spoleto festival - purple background 10 - Women 150 art festival 11 - Girl Guides 12 - ESTO '88 Melbourne - ESTO is a world-wide cultural festival for expatriate Estonians which has taken place every four years since its beginning in 1972Demonstrates the type of flags that were made for use on Melbourne trams during the late 1980s.Set of 12 flags made for use on tramcars - unused - nylon woven fabric and printed on various coloured cloths. Sewn with a loop at the left hand end to enable a wooden dowell to be fitted and secured and flown on a W class tramcar.trams, flags, melbourne, tramways, legacy, festivals, 100 years of electric trams, 150th anniversary victoria

Wunderlich Architectural Terra Cotta Bulletin Terra Cotta in Four Cities TC4 July 1924|Extract Entrance Doorway Davies Doery Pty Ltd Flinders Lane Melbourne|Wunderlich Architectural Terra Cotta Bulletin Terra Cotta Facades TC2 December 1926|Wunderlich Architectural Terra Cotta Bulletin A Versatile Medium TC5 July 1929|Typed Article Durabestos Homes of Colourful Beauty June 1930|Newspaper Article Sunshine Advocate 21 March 1925 New Sunshine factory|Newspaper Article Sunshine Advocate 12 November 1937 Wunderlich factory grows|Newspaper Article Sunshine Advocate 4 April 1925 Advance Sunshine Industrial and domestic development|Extract Cement and Concrete Asbestos Cement 1926|Ernest Julius Wunderlich 1859 to 1945 biography from Australian Dictionary of Biography|Extract Architectural terracotta paterae 1928 to 1929|Newspaper Article Sunshine Advocate 28 August 1926 Another Factory at Sunshine|Extract Wide profiles of Wunderlich tiiles offered by CSR Monier Wunderlich|Extract Monier Concrete Roof Tiles|Typed Report 10 November 2012 Asbestos|Newspaper Article Sunshine Advocate 16 May 1941 Reported Wounded Aboard|Letter to whom it may concern Wieslaw Zielinkski employed by Wunderlich Limited Sunshine|Extract Wunderlich Planning Officer Christiaan Sengers 1965 to 1967|Extract Former Wunderlich now West End Market McIntyre Road Albion|Extract from Internet Principal Clay Types Used in Ceramics|Typed Report The Winston Churchill Memorial Trust of Australia Jennifer Armstrong 2003 Churchill Fellow|Supplement to the Australian Women's Weekly - Page 10 Wunderlich Building Materials Advert Durabestos Building Sheets, Corrugated Durabestos, Modern Metal Ceilings, Terra-Cotta Roofing Tiles, Stainless Steel Sinks & Cermaic Fireplace Surrounds and Hearth Tiles|Molomby & Molomby Solicitor Leter dated 5th September 1986 to The Honourable J. Kennan with concerns about the granting of a planning permit for the former Wunderlich Factory McIntyre Road Sunshine North|Hand written notes Brian O'Reilly Memorieswunderlich, mcintyre road, sunshine north

non-fictionA pamphlet promoting Beaufort Homes created by the Beaufort Division of the Department of Aircraft Production together with the Victorian Housing Commission and the Commonwealth Department of Works and Housing.building, australia, home manufacture, commonwealth of australlia, taffe, aircraft production, architecture, prefabrication

Published Leura, NSW : Second Back Row Press, 1985 150 p. : ill., plan. ix, 150 pages : illustrations ; 24 cm. First published: Canterbury, Vic. : Mullaya Publications, 1975. ISBN 0909325642 Summary Development of the Australian environmental building, using conservation principles including mud brick, timber and iron buildings, by Alistair Knox. Contents: The idea The first building The conflict The earth building movement Murphys Creek Homestead Post-war architecture and natural building Pseudo affluence Crises and correctives Landscape and landscape building Country houses The Australian identity Timber buildings'Corrugated iron Alternative lifestyle Fathers and sons Postscript Appendices: Planning for mud brick Soil types for mud brick Includes photographsPaperback; 150 p. : ill., plan. ix, 150 pages : illustrations ; 24 cm.houses, buildings, mudbrick, mud brick construction, alistair knox

Comparitive example from the mid 1880s with the Eltham Justice Precinct of 1859/1860. AI Overview - The Beechworth Historic Precinct is a nationally significant, well-preserved 19th-century collection of government buildings, including the Old Beechworth Gaol and courthouse in Victoria, Australia. Located primarily around Ford and Camp Streets, it features honey-coloured granite architecture from the 1850s gold rush era, including the Telegraph Station, Burke Museum, and Powder Magazine. Key Components of the Justice & Administrative Precinct: Beechworth Courthouse (1859): Famously hosted over 40 hearings for the Kelly Gang, including Ned Kelly’s committal hearing in 1880. Old Beechworth Gaol (1859–1864): A major prison structure that held many notorious bushrangers and criminals; now listed on the National Heritage List. Police Station & Chinese Protectorate Office (1858): Crucial buildings reflecting the governance of the 1850s gold rush, with the Chinese Protectorate being a rare surviving example. Telegraph Station (1858): A vital communications hub in the pre-internet era.beechworth jusice precinct, russell yeoman collection

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, david stephenson, melbourne

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, photography, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Melbourne looking east from the Rialto Tower 2009 is a sprawling, cinematic view of Melbourne’s CBD. In his Light Cities series, Stephenson explores notions of human and technological achievement against environmental sustainability. The glowing city in Melbourne looking east from the Rialto Tower seems the perfect emblem of our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with potential environmental catastrophe ¬– our engine of modernity seemingly running on empty. Melbourne, in particular, with its bay surrounding the city, makes it highly vulnerable to rising sea levels. Stephenson’s work, therefore, gives further urgency to a close scrutiny of the evolving modern city. Stephenson moved to Australia in 1982 to teach photography at the University of Tasmania School of Art, where he completed his PhD in Fine Art in 2001. He lives and works in Hobart.For more than 30 years, David Stephenson has travelled the globe, producing startlingly beautiful landscapes and cityscapes that illuminate or allude to that which cannot normally be seen. A fascination for the vast in space and time has led him to Europe, the Himalayas, and both the Arctic and Antarctic. He is one of Australia’s most well known and celebrated contemporary photographers with a practice that focuses on the sublime in architecture and in nature.stonnington contemporary art collection, urban, city, industrialisation, modernity, cinematic, environmental, melbourne, david stephenson

Amsterdam, with trade at its heart, is the oldest city in The Netherlands . Its multi-faceted and colourful history has engendered unique personality and behavioural traits in its people. The book attempts to record expressions of these along with the city's architectural attractions. The sub-title (translated) reads "A declaration of love by Amsterdam Boek". (The publishers)The book is a significant record of the Amsterdammers' pride in their city, its history, its present (in the seventies) and its people.A soft cover book of 160pp commemorating Amsterdam's 700 years existence. While the cover is in colour the countless illustrations are in black and white. Published in 1975 the book explores the strongly individual character of the city and its people.

Inscription verso "dr S". Cazneaux image but not signed by artist.photograph, silver gelatin, australian photographer, australian artist, lae iron work, gate, iron gate, garden gate, architecture

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. All Souls Memorial Church, located at 48 Bay Road, Sandringham, is believed to be the first reinforced concrete church in Australia. The foundation stone laid on 7 September 1919 and was consecrated in December 1921, the church seats 350 and contains an organ loft, a marble chancel floor, and Australian hardwood pulpit and pews.Annette Meikle, Church of England 1977, ink and watercolour, 35.6 x 25 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, all souls memorial church, church, building, architecture, bay road, sandringham, church of england

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. ‘Hollyburton’ was built in 1908 by the Honourable JV Fairbairn MHR and is notable for its Australian-style arts and crafts detailing. Located on Fernhill Road, Sandringham, it covered 930 square metres and included a servants’ wing.Annette Meikle, Hollyburton 1977, ink and watercolour, 25.8 x 35.6 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, hollyburton, honourable jv fairbairn mhr, arts and crafts, architecture, historic house, fernhill road, sandringham

On 23 July 1922, Brighton City Council adopted the recommendation from a sub-committee that the site for a war memorial be at Green Point, Brighton Beach. Brighton Council invited designs, limited to returned soldier architects and 18 designs were received. The first prize of £30 was awarded to the architecture firm Irwin and Stevenson and the designs were exhibited at the Brighton Town Hall in 1925. The bronze casting, using lost wax technique, was executed by sculptor Mr. Paul Montford, to the design of the architect and the central assemblage was believed to be the largest bronze casting in relief carried out in Australia at the time. The Brighton War Memorial was unveiled by His Excellency the Governor, the Right Honourable Arthur Herbert Tennyson Baron Somers, K.C.M.G., D.S.O., M.C., on Sunday 24th April 1927 in the presence of 4,000 people. The memorial was originally constructed to commemorate those from the City of Brighton who served in World War One but has since been augmented to commemorate those from the municipality of Bayside who have made the ultimate sacrifice during official periods of hostility.War memorial consisting of a sandstone cenotaph, granite base and sandstone terrace situated at Green Point, Brighton. The cenotaph is a truncated obelisk with classical decoration in stone and bronze. The cenotaph bears the Rising Sun badge in bronze relief near its top with bronze lettering running down the cenotaph reading "ERECTED IN HONOUR OF THOSE WHO FOUGHT IN THE GREAT WAR 1914 – 1919". A bronze relief assemblage of crossed weapons, a wreath, the lamp of valour and the Latin phrase "DUCIT AMOR PATRIA" (love of country leads me) sit above the base which is carved with the word "SERVICE". The terrace walls have bronze relief medallions with images of the head of an airman on the left and an infantryman on the right. The back of the cenotaph bears a torch in bronze relief near its top. On the sandstone wall behind the cenotaph are three large bronze plaques that lists the names of those from the City of Bayside who have served in the various conflicts in which Australia has been involved. At the back of the sandstone wall is carved lettering reading "HISTORY GAVE THEM A COMMON FAME. POSTERITY A COMMON MONUMENT" with 1914 carved on the left and 1919 on the right.brighton war memorial, memorial, cenotaph, green point, war memorial, brighton, service, paul montford, irwin and stevenson, rising sun, wreath, weapons, lamp of valour, great war, world war one, honour roll, honour board, roll of honour, ducit amor patriae, brighton beach, city of brighton, leighton major francis irwin, roy kenneth stevenson