Colour print of Bendigo SECV Bendigo tram 3 travelling High St Eaglehawk towards the Eaglehawk Terminus. Photo taken after the tram has passed the photographer. On Kodacolor paper with a Kodak red ink stamp on rear. Tram has dash canopy lights, but no large white strip under the drivers windows. Photo not dated but appears to be at about the same time as 977, 21.11.1962. Has Eaglehawk Town Hall and Post office in background and shops along the south side of High St. Tram showing destination of "Eaglehawk". Tram has White Horse Whiskey ad and another on front dash panel and two roof ads. In photo are advertisements for "Hutton's Bacon" and "Sennett's Ice Cream" on shop roof advertisements.On rear top left hand corner "3"eaglehawk, bendigo, town hall., high st, tram 3

Bendigo, Birney No. 28 turning into Mitchell St from Pall Mall, heading for Quarry Hill. Photo taken after tram has passed, looks along Mitchell Street towards railway station, with centre of the road poles. Not well in focus. Tram has Briquettes roof ad.'SEC Bendigo, Birney No. 28 in Mitchell St. 17-6-62'tramways, trams, bendigo, mitchell st, tram 28

Black and white photograph of SEC tram No. 18 in Albert St. Sebastopol, inbound, with Lydiard St. Nth destination. Photo has the front corner of a bogie tram in side of photograph. Tram 18 and bogie trams are both fitted with dash canopy lights but small white strips. Also has an advertisement for the AGE newspaper on cab front and "Electricity better for Cooking" roof ad.trams, tramways, ballarat, albert st., sebastopol , tram 18

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Collins Australian Diary, 1963, No. 324 printed by Collins Bros, pattered dark red cover with green cloth binding on cover, card covers, sewn sections with ruled sheets providing a diary for 1963, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc In the Memoranda section (page 4 and 5), list of names and addresses of track gang and notes on materials used, costs, scrubber use and hours, and length of track. Lancaster Wiseman Lakey Edwards Dowie Marks Fish Smith Bartlett (started 4/11/63) Loose contents 22/7/63 - sketch showing Webster St Crossover welding points?tram, trams, sec, ballarat, depot, trackwork, rails, scrubber tram

Duplicated meeting minutes on foolscap sheets of the ARHS SA Division meetings. .1 - 16.8.1963 .2 - 31.7.1963 .3 - 19.7.1963 .4 - 29.5.1963 .5 - 29.8.1962 Gives indication of those involved in setting up the railway museum and other activities. Many of the people attending would have been friends of Wal Jack.trams, tramways, arhs, adelaide

Duplicated meeting minutes on foolscap sheets of the SA SMEE .1 - 27.2.1963 .2 - 26.9.1962 Gives indication of those involved in setting up the railway museum and other activities. Many of the people attending would have been friends of Wal Jack.trams, tramways, sa smee, adelaide

Yields information the condition in 1946 of an old ESCo Tram body that was sold.Digital image from the Wal Jack Ballarat Album of the body of ESCo No. 3 in Cobden St, Mt Pleasant 12-1-1946. The photo album gives the street as Cobden St. Has the details on the rear of the photograph. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negativeon rear in ink "SEC / Ballarat / Old No. 3 original electric (body) Mount Pleasant / 12-1-46" and the Wal Jack stamp with "T102"trams, tramways, esco, scrapped trams, tram 3

Yields information about the trams used and how they were arranged at the railway station for a major tour group visit in 1962.Digital image from the Wal Jack Ballarat Album of a photograph of the ten trams to be used for the ARHS visit to Ballarat 7-4-62. Ten trams used as listed in the inscriptions below. No. 20 the lead tram, has an SEC roof Advertisements, Ilford Film and The Age advert on the back dash panel. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negativeOn rear of photograph in ink "SEC, Ballarat ARHS Specials to Gardens (10 trams) No. 20, 31, 31, 38 in order, others 14, 28, 33, 35, 36,37 from Railway level crossing Lydiard St Nth 7-4-62" and Wal Jack stamp in top right hand corner with number "T1265" written in.trams, tramways, arhs, tours, lydiard st nth, railway station, tram 20

Yields information about the appearance of Stones corner and trams in the early 1960'sDigital image from the Wal Jack Ballarat Album of a photograph of trams No. 20 and 30 in Main St, Ballarat with the Stones building in the background. Both trams are heading into the city. 27-12-1961. In the background is the Verna Cake Shop. No. 20 has a roof advertisement for "Foster Clark's family foods" See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negativeOn rear of photograph in ink "SEC, Ballarat Nos. 20 and 30 in Main St Ballarat East (9.10am), 27-12-61" and Wal Jack stamp in top right hand corner with number "T1238" written in.trams, tramways, main st, stones corner, tram 20, tram 30

Yields information about some of the participants in the AETA's visit to Ballarat in 1962.Digital image from the Wal Jack Ballarat Album of a photograph of the AETA organisers (Keith Kings, Bob Prentice) alongside Les Denmead and ? in front of No. 18 parked at City Loop - Keith Kings print, who took the photo? 21-4-62 See image i2 for rear of photograph.On rear of photograph in ink "AETA Group in front of tour specials 18 & 37, City Loop 21/4/62 Ballarat" and K.S. Kings stamp in top right hand corner with "N(g)(16)" written in ink.trams, tramways, aeta, tours, special trams, city loop, group photo, tram 18

The Australian pilot vessel and steam yacht Alvina had a long and varied career. It was built in the UK as a private yacht, 1891 and in 1903 came to Australia to commence in the pilot service at Port Phillip Heads. This model of the pilot ship is held by the nearby Queenscliff Maritime Museum in Victoria. In 1923 the larger Akuna took over from the Alvina, which then served as an excursion steamer and ferry in Westernport Bay for another 10 years when in 1933 it was replaced by an ex-Sydney vehicular ferry displaced by the new Harbour Bridge. Alvina was not scrapped until 1961. DSC_0046In 1901 the pilots took delivery of their first steam-powered pilot cutter, “Victoria”, 46 metres in length, built at Williamstown. “Victoria” was followed by “Alvina”, “Akuna”, “Akuna II” and in 1953, “Wyuna”, a twin-screw diesel electric pilot cutter 63 metres in length. “Wyuna” served until November 1979 and was then sold to the new Australian Maritime College at Launceston, Tasmania for use as a training ship.Model of the Pilot vessel 'Alvina in glass casepilot service, pilot vessel 'alvina', mr a g woodley

Otway Tennis Assn, B Section, tennis trophy. Cup-shaped EPNS with handles, bakelite base, with one rectangular plate and three shield plates with the names of winning teams from 1963 until 1991/92.;1963 Beech Forest 1964 Ferguson 1975 Beech Forest 1976 Beech Forest 1977 Beech Forest 1980 Carlisle River 1981 Carlisle River 1982 Lavers Hill 1982/83 Carlisle River 1983/84 Ferguson 1984/85 Lavers Hill 1985/86 Carlisle River 1986/87 Wyelangta 1987/88 Carlisle River 1990/91 Lavers Hill Green 1991/92 Weeaproinahtennis; trophy; otway tennis association;

Trophy. Otway Tennis Association, B Grade Junior Premiers. An EPAINS lidded-cup with handles on a round bakelite base, with the names of winning teams from 1963/64, 1975/76, and 1982/83 to 1987/88 inclusive.1963/64 Beech Forest B 1975/76 Lavers Hill 1982/83 Johanna 1983/84 Carlisle River 1984/85 Lavers Hill 1985/86 Lavers Hill 1986/87 Wyelangtatennis, otway tennis association, lavers hill, beech forest, johanna, carlisle river, wyelangta

Bert Graham Collection, Bendigo East Swimming Club, Floodlight Tower, Elevation and base details, top plan, scales 1/8'', 1/2'' to 1ft.Date 14/8/62.J.E.Berry, Chartered Civil Engineer, 76 Rowan St., Bendigobendigo, planning, bendigo east swimming club

George Robert Broadbent (1863-1947), cyclist and map publisher, was born on 3 November 1863 at Ashby near Geelong, Victoria, son of George Adam Broadbent, Lancashire-born draper, and his wife Elizabeth, née Ruffhead. When the family moved to North Melbourne Broadbent attended the Errol Street school, followed his father's trade, and became an early cycling and cycle-racing enthusiast. At various times Broadbent held most Victorian and Australian road records, and two of his performances on solid tyres—203 miles (327 km) in 24 hours on a penny farthing, and 100 miles (161 km) in 6 hours 20 minutes on a 'safety' bicycle—were never bettered. He established records for all distances between 130 and 220 miles (209 and 354 km), and for all times between 8 and 12 hours, at the Exhibition Grounds track in May 1894, and road records for 50 and 100 miles (80 and 161 km) in October 1896. The Australian Cyclist acknowledged him 'the finest road rider that Australia has ever produced'. A foundation councillor of the League of Victorian Wheelmen in October 1893, Broadbent contested the first Warrnambool-Melbourne race in 1895, and was active in the Good Roads Movement. Next year he issued a road map of Victoria, 'prepared … after some sixteen years riding and touring in all parts of the Colony', which indicated general topography, distances, and roads classified as 'good', 'fair' or 'ridden with difficulty'. It was to become Victoria's standard map, and the basis of a continuous publishing programme by Broadbent's Official Road Guides Co.Three Road Maps of Bendigo, Bendigo and Suburbs, Bendigo and Eaglehawk. Two fold out maps printed in colour and produced by Broadbent's Road Maps Pty. Ltd. 475 Collins Street Melbourne. One map printed by Bolton's Bendigo.history, bolton's, bendio broadbent maps

The photographs shows the arrangement for trams in Victoria St, the former main highway between Melbourne and Adelaide.Yields information about Ballarat tram No. 21 in Victoria St and the street itself.Black and White photograph of SEC Ballarat tram 21 in Victoria, in bound to the City. Photo by Keith Kings, 16/3/1963.On rear has the photographers file number O(l)(18)ballarat, victoria st, tram 21, trams, tramways

The tramcar was subsequently re-painted for the 1969 Begonia Festival Yields information about Ballarat tram No. 21 decorated for Myer, 1968 ChristmasBlack and White photograph of SEC Ballarat tram 21 decorated as Santa's showboat for Myer, Christmas 1968. Photo by Keith Kings, 30-11-1968.On rear has the photographers file number 54-18ballarat, christmas, myer, depot, tram 21, trams, tramways

Ballarat SEC tram No. 21 turning from Sturt St. into Drummond St. south en route to Sebastopol, 20.1.1962. Tram in SEC colours with lights, but prior to enlarged white stripe. Southern Cross Hotel in background.'SEC Ballarat, No. 21, Sturt & Drummond Streets, 20-1-62, W.Jack' in blue ink.tramways, trams, sebastopol, sturt st., drummond st, tram 21

Tram 13 approaching Victoria St. terminus, taken from Buninyong railway overbridge, with 13 travelling away from photographer. Two trucks in background. Tram has been fitted with lights, but not the larger white strip. Taken on 26.6.62. With Meagher's Hotel in background.'SEC Ballarat, No. 13, Victoria St, near terminus, Ballarat East, 26-6-62' in blue ink, and on reverse side, 'W.Jack photo' in blue ink.tramways, trams, victoria st., tram 13

Tram 28 opposite Town Hall in Sturt St. travelling away from photographer towards Lydiard St. Has bogie car in background on opposite side of road. Tram fitted with SEC and Castrol ads. Town Hall has scaffolding on the outside of part of it. Taken on 18-7-62.'SEC Ballarat, No. 28 in Sturt St., 18-7-62' and on reverse side, 'W.Jack Photo' in blue ink.tramways, trams, sturt st, town hall, tram 28

Ballarat No. 31 covered on below windows with posters for Morton's Circus, ads for 'To-Nite'. Has Castrol and footrest shoes? roof ads. Tram travelling down Lydiard St, towards station, just left Seymour St. loop, following another bogie car. Both trams have dash canopy lights with small white strip. No. 31 showing 'SPECIAL' on destination.SEC Ballarat No. 31 with Morton's Circus Posters, Lydiard St. North, 5/1/62' in blue inktramways, trams, ballarat, morton's circus, lydiard st., seymour st. loop, tram 31

Ballarat Tram No. 26, in Barkly St, near Main St. - 23.3.1962. Tram has dash canopy lighting, but small white strip. Has large briquettes roof ad and White Horse scotch whiskey ad on front. In back is vacant block and land and corner store. Young lady walking across the road to catch the tram.'SEC Ballarat, No. 26 in Barkly St. near Main St., Ballarat East, 23/3/62' in blue ink.tramways, trams, ballarat, barkly st, tram 26

Ballarat Scrubber car, in Drummond St. North, 28.2.1962, flushing track drains at Duncan St. loop. Workman in white at rear of tram, parked at entry to loop. Photo by Keith Kings.'K.S.Kings No.' stamped onto slide' 'H(w)(369), 1/250, f11, 28/2/62, Ballarat, Scrubber flushing track drains at loop on Drummond St. Nth.' in blue ink.tramways, trams, ballarat, drummond st. nth, scrubber tram, maintenance, scrubber

View over Bendigo football oval and park taken from an old poppet head on Eaglehawk line? on 17.6.1962.'Bendigo, 17.6.62'tramways, trams, bendigo football grounds, bendigo

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.