This lapel pin originates from the Birkebeiner Lodge in Norway. The cross country ski race which originated there in 1932 was the inspiration for the annual Kangaroo Hoppet Race held in Falls Creek, Victoria. The Kangaroo Hoppet is Australia's premier long distance cross country ski race, and a member of the prestigious Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. The course started and finished at the alpine ski village of Falls Creek, and took participants out into the wilderness area of the Bogong High Plains. Later, 42km became the main distance and after a few name changes, the name of Kangaroo Hoppet was adopted in 1990. The lapel pin was owned and donated by Diana Patterson who was a talented cross country skier. She was born in Tasmania and originally pursued a career as a physical education teacher. After making a major career change, she applied to join the Australian Antarctic Division. She applied four times before she was accepted. Diana first travelled to the Antarctic in October 1987. By this time only ten Australian women had spent a winter there. She first worked at Casey Station, before becoming leader at Mawson Station therein becoming the first female leader of an Antarctic base of any nation. After retiring Diana guided tourist expeditions to the Antarctic for many years, as well as continuing work in research and conservation. In 2012 she published her story “The Ice Beneath My Feet: My Year In Antarctica”. Diana Patterson was awarded the Medal of the Order of Australia (OAM) for "service to conservation and the environment”. As well as these outstanding career achievements, Diana has been a Board Member of both the Mt. Buller Alpine Resort Management Board, including a period as Chairman, and also the Falls Creek Resort Management Board. She was also a founding member of Falls Creek Historical Society.This medal belonged to a highly recognised Australian and founding member of the Falls Creek Historical Society.A small gold lapel pin from the Birkebeiner Lodge in the form of a Nordic skier with the name beneath it.diana patterson, falls creek, cross country skiing, kangaroo hoppet

A photocopy of newspaper publication of obituary for Annie Mavis Webster, MBE 21/5/1914 - 8/4/2000 An exceptional singer who contributed greatly to local Bendigo and Australia as well as abroad Bendigo born and raised by Edwin and Annie Webster, Education was at Camp Hill. A life long participation in and commitment to local music and Competition Society provided opportunities for performance. The ultimate prize for amateur singers at the time was the Sun News Pictorial Aria Competition, which Mavis attained as runner up in 1938 and as winner in 1939. Outbreak of WWII curtailed early opportunities for overseas travel but there was much call for her as recitalist, artist and teacher such as at The Sisters of Mercy at St Mary's Convent, Bendigo where she taught singing. Mavis gained impressive reputation and experience in numerous roles including as chorister (and founder of the all female choir and the Benola singers which she also named, after her home), and later (1960) included male voices; she was also conductor; musical director; and adjudicator at Eisteddfords. She laso taught at Girton, St Killian's. During the 1950s Mavis went on a very successful 9 month overseas trip on which she was inspired in many respects including the formation of the choirs. In 1978 Mavis was made a Member of the British Empire for her services to music.City of Greater Bendigo acknowledged Mavis contribution and skills by establishing the Mavis Webster Vocal Collection at the City library.bendigo, history, obituary and biography of annie mavis webster mbe, forest st methodist (now uniting) bendigo, girton, st killian's, herald sun aria, the eisteddford, sisters of mercy at st mary's convent, mavis webster vocal collection, city of greater bendigo, margaret watters.

Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A framed and triple mounted pastel portrait of Professor Shirley Randell. Shirley Randell is a long-time activist for gender equality and women's empowerment in education, employment, public service and civil society in Australia, the Pacific, Asia and Africa. She was the first female dean at Ballarat College of Advanced Education (later Federation University Australia). Her appointment as Dean of Academic Affairs made her the first woman to hold a senior management position at the college. In 2019 Shirley Randell is a Member of the Order of Australia, having received the Officer of the Order (AO) award in 2010 for her services to international relations through education, public sector, institutional reform and economic empowerment of women in Australia, the Pacific, Asia and Africa. She is a member of many important boards and committees including the Australian Government Women’s Alliance – Economic Security for Women and the indigo foundation. An Ambassador of Dignity Ltd, the Australian Centre for Leadership for Women, Women’s International Cricket League/FairBreak and The International Alliance for Women, Shirley Randell is also a member of the Independent Scholars Association of Australia Council, Graduate Women International Projects Committee, and sits on the several editorial boards including the BioMedical-Central Women’s Health Journal. Gift of Professor Shirley Kaye Randell, AO, PhD, Hon.DLitt, FACE, FAICD, FIML, first woman in the Executive Team of the Ballarat College of Advanced Education as Dean of Academic Affairs, 1989- 1990signature bottom right - "G. R. Mainwaring 1989."art, artwork, available, geoff mainwaring, geoffrey mainwaring, mainwarring, pastel, drawing, portrait, portraiture, woman, professor shirley randell, ballarat, g. r. mainwaring, shirley randell

A black and white photograph of female Bendigo Teachers' College students. It is titled 'Sandhurst 1945'. The women are dressed in the formal fashion of the day in a coat or jacket and skirts or frocks. In the background is a brick building with climbing plants on the walls and a garden with bushes and trees on the left-hand side. There appears to be a flagpole in the centre at the back. The names of the students are listed from the top left-hand corner across - Patricia A. Drummond, Faye Warren, Yvonne Ford, V. Ruth Madin, Mary Guppy, Lois R. Adams, Geraldine M. Brown, Enid Livingstone, Carole Vale, Joan I. Hutchinson, Margaret Wilson, Ivy J. James, G.L. Dickinson, Elaine Emmerson, Lynda Richards, J.M. Campbell, Gwen Tracy, B.J.V. Bryan, M.M. Rahill, J.M. McConnell, V.L. Moore, D.E. Benson, E.D. Ryan, M. Frawley, P.M. Ditle, Gert Curthoys, V.M. Foley, P.V. Sullivan, P.J. Murphy, M.Olwyn Stanson, Joan Hunt, Joan E. Dole, D.M. Manners, Lola M. Rowe, Frances P. Dam, L. Palmer, A.J. Wilhinson, M. Holt, P.E. Mirne, Rosina Gimmins, M. M. Fitzpatrick, M. Bradley, Belle Erskine, Ethel M. Turner, Wilga E. Thorne, Valda G. Raggatt, K. O'Connor, D. Wilson, J.D. Ellson, C.G. Monkhouse, Sheila McCarthy, Patricia Sims, Ivy. S Chin. See 3320.100.education, bendigo teachers' college students, tertiary education, teacher training, sandhurst, bendigo teachers' college, ms. j.c. burnett, mr. geoff. pryor, fashion, clothing, costume, patricia a. drummond, faye warren, yvonne ford, v. ruth madin, mary guppy, lois r. adams, geraldine m. brown, enid livingston, carole vale, joan i. hutchinson, margaret wilson, ivy j. james, g.l. dickinson, elaine emmerson, lynda richards, j.m. campbell, gwen tracy, b.j.v. bryan, m.m. rahill, j.m. mcconnell, v.l. moore, d.e. benson, e.d. ryan, m. frawley, p.m. ditle, gert curthoys, v.m. foley, p.v. sullivan, p.j. murphy, m. olwyn stanson, joan hunt, joan e. dole, d. m. manners, lola m. rowe, frances p. dam, l. palmer, a.j. wilkinson, m. holt, p.m. mirne, rosina gimmins, m. fitzpatrick, m. bradley, belle erskine, ethel m. turner, wilga e. thorne, valda g. raggatt, k. o'connor, d. wilson, j.d. ellson, c.g. monkhouse, sheila mccarthy, patricia sims, ivy schin.

A box covered in Christmas paper containing items related to the Cohn family. (i) A yellow folder titled 'Press cuttings and articles of Ola Cohn.' Items of interest include articles relating to Ola Cohn, her work and her home and the Cohn family and their drink company Cohns Pty. Ltd. Sources are 'The Age,' 'The Sun,' 'The Australian Home Beautiful,' 'The Herald' and 'The Bendigo Advertiser.' Dated between 1932 and 1968. (ii) A book written by Ola Cohn titled ''Mostly Cats,'' written in 1964.Ola Cohnperson, family, ola cohn, lydia chancellor, collection, cohn family, cohn bros. pty. ltd., manufacturing, ola cohn, women, pottery, ceramics, art, art work, book, literature, female, person, sculpture, famous people, fairy tree, mostly cats, animals, pets, cats

Letter to an unidentified Life Member asking for assistance in organising fundraising events to support Special Blind Appeal. The letter continues on to a second page, however this is missing. This is an example of a joint appeal between the RVIB and the AAFB, who usually preferred to work independently.1 photocopied letter with illustrations at topTop left hand corner is a lighthouse with the words 'Education and Maintenance of Blind Children, Industrial Professional Training Etc of Blind Adults, Homes Etc for Aged and Infirm Blind' written on the tower. The light that shines towards a female child and an adult male who are both wearing blindfolds, contains the wording 'Special 50,000 (pound) appeal for the Blind Children & Adults of Victoria". To immediate left of the people is written "Blind/and seeking the light/your generous donation will help them find it'. To the right of the rocks upon the which the lighthouse stands "Kindly address donations Hon. Treas. of Blind Appeal, The Lord Mayor of Melbourne, Cr. Harold Luxton M.L.A., Town Hall, Melbourne". Underneath the lighthouse against the left edge of the paper "Institutes participating in this appeal - The Royal Victorian Institute for the Blind and the Association for the Advancement of the Blind - these organisations care for the blind of Victoria from the cradle to the grave. Please address all correspondence S.W,. Hedger, Secretary Blind Appeal, Royal Victorian Institute for the Blind, St Kilda Road, Prahran, S.1. Vic, Phone W 6500. Blind Appeal Enquiry Office: Nicholas Building, 5th Floor Swanston Street, Melbourne, Phone F 6418."royal victorian institute for the blind, association for the advancement of the blind, fundraising

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

This handmade green glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, green glass wine bottle with contents. Glass has ripples and crease lines. The mouth has a seal in place. The applied lip is cracked. It has a deep pushed-up base with a pontil mark. Handmade with no seams in the body. The contents smell like apple cider vinegar. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, green glass

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, crease lines and side seams. The mouth has a seal in place. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, and crease lines and the neck has side seams. The mouth has a seal, the top of which comes away from the rest of the seal. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The contents have no colour or odour. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism

Faded, sepia toned photograph, with stained cream-coloured cardboard mount and timber frame. The photograph was taken on 19 October 1877 and features the building then used by Ballarat College on the grounds of St Andrews Kirk, Sturt Street Ballarat. The foundation stone for this building was laid 12th September 1874. Grouped in front of the building are a line of 13 girls and two boys. Behind them stands a line of 26 older looking girls, and three men stand in the background. From 1877-1891 Ballarat College was co-educational, so it is likely that the girls in this photograph are the first years’ cohort of female students in 1877. The woman standing to the far right, a little apart from the line of girls could be the ‘Lady Principal’. Handwritten on the back of the photograph: ‘F.I. Schulze / Oct 19th 1877 / Ballarat College Sturt St. / In posse(s)ion (sic) of Florence Hewett - nee Schultze / died 1935 / Presented by her daughter / Irene Hewett' Florence Ida Schultze (PY1882) attended Ballarat College from 1877-1882. She married George Hewett (1878) who attended in 1877. George’s two sisters, Mary (PY1877) and Margaret (PY1881) also attended Ballarat College. It is highly likely that all four old collegians are in this photograph. Florence and George’s son, Reginald Schulze Hewett (PY1905) attended Ballarat College from 1902-1905. Their daughter, Irene Harriet Hewett (not a student of Ballarat College) donated this framed photograph to the BCC Archives.Handwritten on back of the photograph: F.I. Schulze / Oct 19th 1877 / Ballarat College Sturt St. / In posse(s)ion (sic) of Florence Hewett - nee Schultze / died 1935 / Presented by her daughter / Irene Hewett'ballarat college, 1877, st andrews kirk

The egg preservation material offered in this tin was during a period in Australia's history (especially in the rural areas) when the "freshness" of produce was not able to be maintained by refrigeration means. Rural towns did rely on the "Ice Works" providing block ice for prolonging "produce shelf life" however semi remote and smaller communities did not have that facility. It was products such as this egg preserving ability that enabled these smaller rural communities to maintain a constant source of healthy "short life" organic produce.This tin which contained egg preservative powder is very significant to a rural region (Kiewa Valley) in the late 1800's to early 1900's. It details the type of food preservative methods that were available to rural areas which lacked proper refrigeration means at their disposal. Basic foodstuff which required "special" preservation means to extend their "shelf" life were sometimes regarded as luxuries by semi remote communities. Kiewa Valley and its regions were typical of these remote communities in the time frame of this egg preservation product. The ability to keep products that deteriorate due to "normal" outdoor temperature (bacterior prone produce) was a factor of rural living.This round "tubular" tin has a indented lid which fits snugly into the top opening. The lid has a rolled out lip which ensures a degree of "air" tightness. The tin is pressed and folded together and has no synthetic inner cover to protect the egg preservative powder from the raw tin surface. This "raw" method was the typical application for all tins containing dry food stuffs in this period(mid 1900's) of goods manufacture. The outer tin surface has a tightly pressed laminated paper label with product and manufacturer's information (promotional, preservation "tips" and usage details - will preserve sixteen dozen eggs). On the "front" side "EGG PRESERVATIVE" underneath "OVO" ,underneath "REGISTERED" and in a double lined enclosed square "AWARDED TWO GOLD MEDALS" underneath is a sketch of a mixing dish containing fourteen visible eggs. The bottom label has within an oval boundary (white print on a blue background) "FOR HOUSEHOLD USE" underneath "OVO" and underneath "PRESERVES EGGS PERFECTLY WITHOUT MESS OR TROUBLE" On the opposite side of the tin is printed "VICKERY'S FIRST & ONLY ORIGINAL EGG PRESERVATIVE - in red print. Underneath this is a "round stamp" with the figurehead(royalty) and these encircling words" TASMANIAN INTERNATIONAL EXHIBITION" with a scrolled "GOLD MEDAL HOBART 1895" with another medal like "medallion" showing another female face with a "warrior" headdress and these encircling words "HONOR TO WHOM HONOR IS DUE". Below this within a scrollis printed "GOLD MEDAL BALLARAT 1896" underneath this is printed "MANUFACTURED BY OVO PROPRIETARY LIMITED BALLARAT"egg preservation, rural food storage, kitchen preservation facilities

Copies of some pages titled Birthplaces of the People. Tables are divided into each shire under the heading of Bendigo. Birthplaces are divided into British Possessions including Victoria and Foreign Countries including France and French Colonies and Other Fountries, At Sea and Unspecified. Bendigo is divided into Sandhurst City - -?- Ward and Sutton Ward, Eaglehawk Borough and Raywood Borough. Marong Shire is divided into North-West Riding which consists of Newbridge Township, Goldworkings and Outside Township and Goldworkings, Bridgewater Township and Myerstown Township. North-East Riding consists of Kangaroo Flat -?- Goldworkings, Eaglehawk Gully Goldworkings, Eaglehawk Flat Goldworkings, Butcher'sHill Goldworkings, Deadhorse Flat Goldworkings,Myers' Flat Goldworkings and -?- Flat Goldworkings. Maiden Gully Goldworkings, Kangaroo Flar Goldworkings, Epsom Township, Neilborough Township, Whipstick Goldworkings, -?- Goldworkings, Sebastian Goldworkings, Sydney Flat Goldworkings, other Goldworkings, Outside Townships and Goldworkings. South Riding of the Marong Shire consists of Ravenswood Township, Big Hill Township, Grusoe Gully Township, -?- and Lockwood Township. Strathfieldsaye Shire consists of the East Riding and the West Riding which consists of Milkmaid Flat Goldworkings, Diamond Hill Goldworkings, -?-, Sheepwash Gully Goldworkings, Spring Gully Goldworkings, Tin-pot Gully Goldworkings, Golden Gully Goldworkings, Kangaroo Flat and Gully Goldworkings and Outside Goldworkings. Huntly Shire consists of the Huntly Township, Huntly Goldworkings, Ascot Township, -?-, and Outside Townships. Each table lists the number of Persons, Males and Females and the places mentioned earlier where they were born. Black marks on paper make some of it unreadable.bendigo, history, long gully history group, the long gully history group - birthplaces of the people - marong, huntly & strathfieldsaye

Black and white photograph taken from St Pauls Cathedral Melbourne, looking south over Princes Bridge, early 1950's. Has nine trams in the view, mainly W2's, but one W3 and many motor vehicles, trucks etc. Shows the gardens in the now Southbank area, the junction just past the bridge of South Melbourne tram line, Wirth Bros Circus and other buildings, Prince Henry's Hospital. In particular is an Olympic pool direction sign hanging below the Batman Ave tram sign. This would have been the pool in Batman Ave, nearer to Flinders St, within the Flinders St yard complex, not the 1956 pool. Directly below is a female pedestrian dress in the classic 1950's "Dior" look. Over the bridge on the west side is "The Trocadero" formerly The Green Mill Dance Hall opened on 07/09/1926. West of that again is "Olympia" run by Wirth's . In the distance is Prince Henry's Hospital, the tall section was built in 1942, since demolished. Rod Atkins noted that the Olympia burnt down in the early fifties about the same the Trocadia closed, so pre 1953. Note the centre pole is still place at the Sturt Street intersection. In Batman Ave we have two W2's 401 and earlier one. In St Kilda Road we have four W2's in foreground in then W3 - No. 667 then a W4 then a SW6 in the distance. Outbound on route 4D is 578, behind it is 340 on route 5. A safety zone is between 578 and 340.Stamped on rear "Australian Official Photograph / Department of Information" and the number "L3121" in pencil.trams, tramways, swanston st, princes bridge, melbourne, south melbourne, tram 401, tram 667, tram 578

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

This pressed brass artefact is a highly decorative side bracket for distancing a gas lamp flame from the internal wall of a building. It is hollow and made of light gauge metal, with an innovative aesthetic design, but no internal piping to transport gas. It was recovered from the wreck of the LOCH ARD. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was destined for display at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens was already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. The gas light bracket is an example of lamp fittings and plumbing from the late 19th century.A pressed brass lighting bracket recovered from the wreck of the LOCH ARD. It would be used for attaching, but simultaneously offsetting, a gas nozzle to a wall. Highly decorative in an unusually ‘modern’ or ‘art-deco’ style, with sweeping curves dissected by angular geometric pattern, and supporting a short, vertical bar with a gas nozzle on top. It is constructed of light gauge metal, with splitting along seams, and some delicate tracery is missing. Outer surface has been polished, removing sediment, but greenish oxidation remains in dents and joins. warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

The artefact is a short cross-section of part of a functional part of a brass fitting that suspended a gas lamp, providing structural support, and internally, supplying the gas for its ignition. It combines elegant design with the elements required for safe and efficient delivery of gas. It was recovered from the LOCH ARD shipwreck site. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was intended for Melbourne’s first International Exhibition to be held in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens, was already well advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The gas fitting is significant for its association with the LOCH ARD shipwreck, which is of State significance and is listed on the Victorian Heritage Register S417. The fitting is an example of a late 19th-century plumbing and light fitting.A pressed brass gas light fitting, recovered from the wreck of the LOCH ARD. The elegant and functional fitting extends from an ornate 8cm diameter ceiling flange, and comprises two short lengths of fluted column pipe with a brass joiner that are severed (cut off) at the end. Within this decorative outer layer of 3cm diameter is a full length brass tube liner, which is in turn protecting a narrow 0.75cm copper gas pipe that also runs full length. The artefact is generally unrestored with reddish/cream sandstone concretion, but is in good condition.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

This artefact is a functional, non-decorative fitting that essentially transports gas from a wall attachment to a lamp. It is a brass and copper gas lamp fitting, designed to direct and control the flow of gas from a flanged wall fitting to an exit nozzle that was lit. It was raised from the LOCH ARD shipwreck site by Flagstaff Hill divers in 1972. Related pieces can be found in the Maritime Village collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal; some of which was to be on show at Melbourne’s first International Exhibition in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s southwest coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens were already well-advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas-lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, the four cases of brass gas light fittings on board would probably have found a ready market.The LOCH ARD shipwreck is of State significance — Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. This pipe is a gas lamp fitting. This extensively corroded fitting is made of brass and copper alloy. It comprises a 31 cm copper pipe of 1.5cm diameter which is connected to a 6.5cm diameter wall flange (via a flow tap and an adjustable swivel valve) at one end, and to a screw-in square coupling with a nozzle or gas jet at the other end. The copper pipe is dented and corroded and has three holes. The brass attachments are a more robust cast metal but the adjustable mechanisms are concreted into immobility by ocean sediment. No discernible maker’s marks. In unrestored but fair condition. The pipe with the fitting was recovered from the wreck of the LOCH ARD.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting