Closed Circuit Television allows people to view items placed upon a board, which slides up, down or across. Developed initially as either a security measure by Leon Theremin (1925) or by Siemans (1947) for rocket launchers, their magnification ability is used for reading by those with a vision impairment. In this image a young person sits in front of a screen which has the words "But Lisa said/Cigarettes just/They're bad" on it. An abstract painting hangs on the brown wall to the side of the desk.royal blind society of nsw, equipment

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. 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.Framed limited edition print. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.pro hart, yabbie, printmaking, available

Pro (Kevin Charles) HART (30 May 1928 – 28 March 2006) Born Broken Hill, New South Wales Pro Hart drew upon a variety of techniques in his paintings, including layering, chiaroscuro, glazing, scumbling, scratching and Alla prima. Insects, particularly ants and dragonflies, are among Hart’s most popular and most identifiable images. 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.Bookplate featuring a giant Pro Hart with palette dwarfing poppet heads in Broken Hill."Ex Libris PRO HART"pro hart, bookplate, poppet head

Melbourne-based artist Wendy Black works across screenprinting, painting and drawing. The 1980s saw a rise in campaigns for Antarctica to be designated a World Park to ensure the ongoing protection of its natural resources and its continuation as a peace zone. Black’s screenprint, featuring seals and penguins set against an Arctic icecap, captures the looming threat to the precious flora and fauna of the continent. Text in the lower corner describes Black’s collaboration with the Antarctic and Southern Ocean coalition for which this poster was likely made. Donated by the artist

Aunty Marlene Gilson is a Wathaurong (Wadawurrung) Elder who lives on Country in the Ballarat area. A self-taught artist, Gilson has received considerable acclaim and attention for her painting of historic encounters, in particular with regard to the retelling of events in which early colonial depictions excluded First Nations people. Marngrook Football depicts the first game of Australian Rules football played between Ballarat and Geelong while a parallel game of Marngrook takes place within view.

Eleanor Constance (Nornie) Gude was born in 1915 in Ballarat, Victoria to Stella Rehfisch and Walter Gude, musician and violin teacher, and conductor of the St Patrick's Cathedral orchestra and choir in Ballarat. Her parents met when Stella was 27 and the 42-year old Walter was teaching her the violin. Nornie and her sister Gilda were both raised in Ballarat before moving to Melbourne on the eve of World War II. She was accepted into the Ballarat Technical Art School at 15 because of her advanced skill in painting, and trained there from 1931-1936. She won the esteemed MacRobertson Scholarship in art worth £100 a year. She later went on to the National Gallery School from 1936-1939, studying with Sidney Nolan and Charles Bush, and became the first woman to win the National Gallery Students Travelling Scholarship. Gude won many awards for her painting both while at school and throughout her career. Her work is represented in collections at the National Gallery of Victoria, Parliament House, and the Art Gallery of Western Australia, as well as regional collections in Ballarat, Geelong, Castlemaine Art Museum, and Bendigo.Portrait of Nornie Gude while a student at the Ballarat Technical Art Schoolnornie gude, ballarat technical art school, 1931-1936, women of note, artist, macrobertson scholarship, 100 pound per year, national gallery school, 1936-1939, sidney nolan, charles bush, first woman national gallery students travelling scholarship, parliament house, regional collections, ballarat, geelong, castlemaine, bendigo, national gallery victoria, eleanor constance gude

Loris BUTTON (27/02/1951- ) Born Melbourne Dr Loris Button grew up in Melbourne, completing undergraduate studies in painting and drawing at the Phillip Institute of Technology, followed by a Master of Fine Arts degree at the University of Tasmania. Her PhD thesis employed self portraiture as a means for reflecting on the self, time and ageing in contemporary culture. From 1981 – 1986 Loris lived and studied in Hobart before returning to Melbourne. She lectured at the University of Ballarat Arts Academy from 1987. Since 1990 she has lived and worked in Ballarat and the nearby town of Creswick. Loris retired from an academic career at the Arts Academy, University of Ballarat (now Federation University) at the end of 2010. Loris has continued a post-retirement association with the Arts Academy through her role as an Honorary Research Fellow. Working with prints, paintings and drawings on handmade paper, her work is regularly shown in both solo and group exhibitions throughout Australia and overseas. 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.Twenty Five unique state linoprints on handmade abaca and cotton rag papers mounted together with insect pins. This work formed part of the Artist's PhD research.art, artwork, loris button, printmaking, linoprint, doctorate, alumni, handmade paper, linocut

Walter Magilton left school early to become a dairy farmer in Western Victoria, returned to school and became a secondary school art teacher, eventually becoming an artist full-time, a painter, sculptor and jewellery maker. His paintings are in collections overseas and Australia. He teaches art from his Stony Creek Studio in Warrandyte and married to contemporary installation artist Denise Keele-bedford. Contents Newspaper article: "Walter Magilton: More to life than Maggie", Green Valley, section of Diamond Valley News, no date, details of Walter Magilton's career, his tame blackbird Maggie. Newspaper article: "Walter Magilton - Warrandyte", Network, October 1987, details of Walter Magilton's career, achievements and painting style. Newspaper article: "A modern twist on reality", Diamond Valley Leader, no date, Walter Magilton's exhibition at Bridges Restaurant, Hurstbridge. He collaborates with his wife Denise Keele-bedford, a contemporary installation artist. Newspaper article: "Walter Magilton: A Life's Journey in Art", Manningham and Nillumbik Bulletin, issue 51, July 2024. Walter Magilton to exhibit at Monsalvat.Newspaper clippings, A4 photocopies, etcwalter magilton, warrandyte victoria, stony creek studio warrandyte, denise keele-bedford, bridges restaurant hurstbridge, montsalvat, cowley's creek near camperdown, lou evans, carey grammar school, geelong teachers college, charles bush, lenton parr, william carey, mg car club, donvale christian college, alison magilton, warrandyte, bib silwell silverstone motors

Refer Cat No. 7503, 7504, 7506, 4 book collection.Hard cover book. Cover - cardboard, with dark green colour buckram cover. Light green print on front cover and spine. End papers - mid green colour with cream print illustration back and front. 204 pages - cut, plain, cream colour paper. illustrated in colour, black and white and sepia photographs, illustrations, paintings. handwritten owners signature - front end paper. handwritten notes - on Editorial Note page.Front end paper - handwritten black ink - owner's signature "Lynette Smith/Johnson St/Ouyen" Editorial Note Page - handwritten grey lead pencil - 7 lines of very small almost illegible writing.books, army, ww2

"AUSTRALIANS AWARDED" - "A concise guide to Military and/Civilian Decorations, Medals and/ other Awards to Australians/ from 1815 to 2007 with their Valuations" Peter Ball collection, refer Cat No 4704.Hardcover Book Cover - cardboard with adhered paper cover. Gold, black and white print on front. spine and back. Front and spine illustrated in colour - "First Australian Division Artillery going into 3rd Battle of Ypres" by Septimus H Power painting. Artillery guns, horses and soldiers in a battle scene. 359 pages - cut, plain, glossy white paper illustrated in colour - photographs of decorations, medals and awards. Handwritten - owner's name. Handwritten front end paper in blue ink "Peter C Ball" Opposite title page in black ink "Peter C Ball"books, reference guide, history, military warfare

Soft cover book, Soft cover, cardboard, red and white colour print on front, spine and back. Front cover - illustrated top copy of illustration in black and white of figure with gas mask. Bottom colour photographs of the two museums. 32 pages paper and lightweight cardboard with foldout pages. Illustrated black and white; and colour photographs, posters, paintings, displays, maps. Front and back and papers - illustrated, sepia tones, handwritten letters.Museum Exhibition - "The Musee de Peronne" the overall conflict. "Musee de Thiepval" Battle of the Somme.books, museums, ww1

Displayed in History House. Portland Town Council?Sepia photograph of interior of room with wooden floors and ceiling. Pale-coloured walls. Three tall arched windows on each side (left and right) and fireplace in centre of rear wall. Single central light suspended from ceiling. Paintings and framed photographs on wall, wooden benches along 3 walls and at front left and right, with large central table and 10 chairs in centre of room. Mounted on buff card with decorative stencil.Front: Yeoman & Co. Extra copies can always be obtained. Royal Arcade melbourne. (ink stamp, centre right). Back: Yeoman & Co. The popular photographers, Royal Arcade Melbourne. [.....] Prahran, Richmond, Carlton and South Melbourne (purple ink stamp, centre left).portland town hall, local government, administration

Certificate presented to Robert Carr , Esq., manager of the Great Extended Hustler's Gold Mining Company from his fellow workmen upon his retirement. Hand written in black script upon card with a hand painted border of flowers, leaves, gold picks & shovels, and initials. Recipients name in blue and pink and topped with a water colour painting of a gold mine. Markings - J Birtwistle Sandhurst. Notation on back re mines output.person, individual, robert carr

Half page illustration from Punch p. 37. Two panel illustration by G.D. Armour titled 'Points of View' and subtitled 'The River as it Appears to the Winners of an Easy Race' showing starboard view of a straight four rowing erect and without obvious distress. Below 'As it Appears to the Losers of a Hard Race' showing closeup starboard stern quarter view of a straight four collapsed over their oars, with the surrounding scenery drawn in a wavy haze. Part of the Tom Weil Collection. Thomas E Weil is a very knowledgeable and respected collector of rowing memorabilia from all over the world. His extensive collection includes material from many years of the Oxford and Cambridge University Boat Race, and Henley Royal Regatta. He also lectures and writes on rowing history and is a Trustee of the River and Rowing Museum. River & Rowing Museum, Mill Meadows, Henley on Thames, Oxfordshire, RG9 1BF Telephone: 01491 415600 General enquiries: [email protected] of an Ink and watercolor painting of two rowing crews. Two panel copy of an illustration by G.D. Armour titled 'Points of View' and subtitled 'The River as it Appears to the Winners of an Easy Race' showing starboard view of a straight four rowing erect and without obvious distress. Below 'As it Appears to the Losers of a Hard Race' showing closeup starboard stern quarter view of a straight four collapsed over their oars, with the surrounding scenery drawn in a wavy haze.Points of view G.D. Armourcity of warrnambool rowing club, warrnambool rowing club, hopkins river warrnambool, hopkins river warrnambool, g.d. armou, 'points of view'

Two A4 sheets stapled titled "Key Dates - Prahran and Malvern Tramways Trust" and PMTT Map on page 2 giving opening dates , and other important dates for the Trust. Has the PMTT logo, reproduction of a painting of No. 26 by Graham Lee and two PMTT drawings of a single truck 4 wheel tram and a Maximum Traction bogie tram. Map shows the railway lines, cable lines, PMTT lines and HTT lines.trams, tramways, pmtt, history, opening, htt, kew

Illustration - colour printed onto white card, titled "Collins Street - Melbourne" from a painting by Donald Cameron. Shows a tram arriving west bound at corner of Swanston and Collins St, with the Town Hall in the background. Card produced by The Anti-Cancer Council for sale. Produced as a Christmas Card, two fold vertical with details of the artist and the producer on the rear. Also a second copy of just the illustration only. Card used by Clive Mottram for 1992.trams, tramways, collins st, town hall, illustrations, greetings cards

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920 they published prints of art from original works of famous and not so well-known artists. The published items were distributed by the House of Art, NY, which continued on into the 1950s. The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the organisation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has two small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art

Donation includes a letter, dated 12 June 1983 from June Uhl to Mrs [Thea] Sartori referring to research about John Hodgson and the naming of Studley Park.Photographic negative of a lithograph of the Melbourne and Studley Park pioneer John Hodgson, accompanied by a letter from the donor, Jean Uhl.Envelope: "John Hodgson painted* by Ludwig Becker 1855. Photographed by State Library of Victoria from original held by Royal Historical Society of Victoria. Kew Historical Society from Jean Uhl." Editor note: Incorrect attribution. The Becker oil painting is held in the City Collection, City of Melbourne. This negative is of a lithograph based on a drawing of Hodgson, made by L. Becker circa 1855.john hodgson, studley park, stoodley pike - scotland, rev alex davies, jean uhl, ludwig becker

John COLLIER (1937- 2012) John Collier was born at Ballarat in 1937. He received a Diploma of Mining and a Diploma of Civil Engineering at the Ballarat School of Mines (SMB), later graduating from the University of Melbourne with a Bachelor of Engineering (Mining). Early in his career he received a Diploma of Accountancy from the Australian Society of Accountants. Collier believes his experience at SMB had a profound influence on his life, especially what he learnt in Geology, Engineering, Chemistry, etc., all of which he found beneficial to his later working life and he is proud of that association. Through his experience in the world-wide mining industry John Collier has made a major impact on the mining industry. He has been exploration leader for a large number of worldwide discoveries and farm-ins both major and minor. He has experience in every facet of the mining industry, and his record in identifying diamond opportunities include Australian (Argyle), Canada (Diabik), Zimbabwe, and the Brazil Pipe (Collier Falls). His success in diamond exploration may be unparalleled. John Collier also has significant success with lead-zinc, iron ore, coal, copper, gold-silver, petroleum, heavy minerals, nickel, uranium, industrial minerals, rare earths, and tin. In 2006 John Collier was made a Legend in Mining by the Australian Mining Industry. Over his last 10 years, he had become a passionate painter, holding several successful solo exhibitions. His naive style featured beautiful and unexpected colour combinations. Many of his most lauded paintings depicted mining scenes, harking back to his Ballarat days. 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.Two artworks by John Collier inspired by his alma mater, the Ballarat School of Mines. art, artwork, john collier, ballarat school of mines, alumni

The extensive formal landscaped gardens of Rockingham had been created in the 1860s, and by the 1950s remained bordered to the south by the Barkers Road cutting, and to the north by Blytheswood, the neighbouring Syme family property, By 1940, the Syme family were no longer the occupiers of Rockingham. John Herbert Syme had died in October 1939, and by August the following year, his wife had made the house and garden available, rent free to the Red Cross as a convalescent home for Australian soldiers injured in the Second World War. At the time, the house was described as containing twenty rooms, including a ballroom and a billiards room, with a garden of eight acres overlooking the Yarra. The task of renovating the house to conform to its new function as a convalescent home took a year, finally opening in August 1941. Community support for Rockingham was widespread and included the decision by the National Gallery of Victoria to loan pictures from its collection to decorate the walls. Calls were made for women around Victoria to donate fruit and vegetables from their gardens, which the railways agreed to freight for free. Other local support included the work by a team of boys to establish a three-acre vegetable garden within the formal terraced gardens. From the beginning, occupational therapy formed a key component of the rehabilitation of psychologically injured soldiers. This is confirmed by contemporary newspaper accounts of weaving, ironwork, leatherwork, basketry and gardening by patients. Numerous photographs, held by the Australian War Memorial (AWM) and the State Library of Victoria (SLV), record the importance of these rehabilitation activities. The painting of the view across the river to Abbotsford may have been painted in one of these occupational therapy sessions. For many decades it hung in the occupational therapy room. It must have been on view following the sale of Rockingham by the Syme family to the Red Cross in 1955, and subsequently, until the house was demolished and its grounds finally subdivided in 1977.View of Abbotsford from the garden of Rockingham (1952) was created by V Maloney. The vantage point of the artist was the garden of Rockingham, one of two mansions overlooking the Yarra owned by the Syme family. The artwork depicts a number of sites - especially factories - that have since been demolished.Signed by the artist, lower right "V Maloney"rockingham red cross convalescent home, hospitals - kew (vic), rosemary lade, art therapy

'Menin Gate at midnight' was painted by Will Longstaff to commemorate those soldiers with no marked graves on the Western Front during the First World War; also known as 'Ghosts of Menin Gate'. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night, unable to sleep, Longstaff returned to Menin Road and later claimed to have had a vision of spirits of the dead rising out of the soil around him. On returning to his studio in London he painted 'Menin Gate at midnight' in a single session. Today 'Menin Gate at midnight' has achieved the status of a national icon. The painting retains its ability to provoke an emotional response and to communicate the scale of the loss of life and the devastation of war. However as people now have a very different understanding of war, the painting serves a slightly different function. Whereas in the past people responded to the painting as it related to the loss of a loved one and their own personal grief, now the painting communicates the loss experienced by a whole generation. The vast number of those who were killed, and the immensity of the damage wrought during the First World War, requires that those who sacrificed their lives should not be forgotten. Longstaff used well-known motifs to trigger emotion. His scarlet poppies are flowers that could be found in the Flanders fields, but they also carry the traditional connotations of shed blood and remembrance; they represent a floral blanket covering the bloodied bodies of unknown soldiers; at the same time, like the paper poppies worn on Remembrance Day, they are a tribute from the living to the dead. The portrayal of the steel-helmeted soldiers rising from the cornfields extends the range of visual emblems used by Longstaff: the plentiful harvest; the harvest of men; the steel-helmeted crosses covering the graves of many soldiers; and the helmeted bayonets raised in cheer and victory.ww1, menin gate, wark vc club

Ludwig Becker. Artist & Naturalist with the Burke & Wills Expedition. Brown Dust jacket and clear plastic jacket. Publisher: Melbourne University Press, Carlton. Edited with an Introduction by Marjorie Tipping. Sketches & paintings. Markings/Inscriptions: Bendigo Historical Society stamp. Book signed by Marjorie Tipping. 21st Birthday gift card (business card size): With all Best Wishes on this most important occasion, H C Lee-Archer, Nov 1979. Pres RHSVMarjorie Tippingbook, burke & wills, ludwig becker, burke & wills expedition, h c lee-archer rhsv, australia history, flora fauna

Silk programs, at that time, were only produced for a very prestigious night at the theatre. Historical note: The town of Gisborne was named after one of the members of the first committee of the Mechanics’ Institution (renamed in 1872 to Melbourne Athenaeum), formed in November 1839. His full name was Henry Fyshe Gisborne 1813-1841. The program, crafted of printed silk with a silk fringe all around the four edges is unique in the program collection. The program reveals an interesting fund-raising entertainment held at the Melbourne Athenaeum theatre in 1884. As the theatre was available for hire by everyone in the Melbourne community, over the course of its history it was hired by a large variety of theatrical performers, political groups, sporting and arts groups, in addition to fundraising groups, as found here. Proceeds of this concert were donated to the Melbourne-based Sick Children’s Hospital and the Upper Macedon Episcopalian Church – an unusual combination of charities. The Mount Macedon area became a popular place for holiday- makers from Melbourne in the 1870s and many professional people built holiday retreats with beautiful gardens in the area. The development of the area created a further need for places of worship. The names of the people taking part numbered over 70, several having the same family names as those listed as members of the Melbourne Athenaeum at that time but there is no proof that the people involved with the performance were subscribers to the Melbourne Athenaeum. At the time the Athenaeum hall consisted of a large flat space requiring chairs to be placed in lines, with hand-written alphabetical signs to indicate the rows and individually numbered chairs. The hall seated 900 patrons. When the hall was used for balls, banquets and exhibitions all the chairs were removed and stored under the stage and in a room at the side of the hall. The layout of the hall can be seen in this photograph from the archives, taken in the early 1900s. This fringed, silk program was produced for a concert held on 9-10 October 1884 under the patronage of the Governor Sir H Brougham Loch at the Athenaeum Hall in aid of the Convalescent Fund of the [Melbourne] Sick Children’s Hospital and the Episcopalian Church of Upper Macedon. The evening of light entertainment comprised eleven solo musical performances and thirteen tableaux, some humorous, referencing biblical and classical themes from plays, paintings and operasm enhanced with painted scenery and a multitude of costumes.melbourne athenauem hall, the sick children's hostipal, episcopalian church

Soft cover 72 page booklet stapled along left side. Cover has image of George Lambert's painting: The charge of the Australian Light Horse at Beersheba, 31 October 1917". The booklet is a compilation of various official documents and articles from publications to give serving soldiers a history and heritage of their regiment which was formed on 1 April 1991 with the linking of 4/19 Prince of Wales's Light Horse and 8/13 Victorian Mounted Rifles.pwlh, vmr, history

Newspaper Clipping from The Courier, Ballarat 2/3/2001, titled "City's golden gift from Bendigo", page 5. Item written by Mariza Fiamengo about the delivery of the Gold Tram (Ballarat 45) from Bendigo, the previous day. Mentions the 1951 painting of trams to celebrate the 100th anniversary, sponsorship from the Country Victoria Tourism Council, Sovereign Hill and the Ballarat Tourism Board. Photo shows the tram about to be positioned on its trucks.gold tram, bendigo, btm, gold