Hans Walter von Gruenewaldt was a German POW who used his artistic ability to paint several large mural caricatures while he was held at Camp 13 at Murchison. The technique he used was colourful house paint, painted directly onto the walls of the German mess hut, reading room and recreation hall in compound 13D. The paintings were completed over a duration of six years (1941-1946). 2 colour photo of a RSL Hall Murchison, view looking west.hans walter von gruenewalt, german pow's, camp 13 murchison, pow camps, caricatures, rsl hall murchison

Irish poet and balladeer Thomas Moore, best-known for penning The Minstrel Boy and The Last Rose of Summer, is honored in this statue prominently located in Sturt Street created by sculptor George Grant from white Carrara marble. George Grant was trained at the School of Art associated with the National Gallery of Victoria, apparently in the 1880s, and then worked as an artist, specialist house painter, and banner artist. Several of his paintings are held by the Ballarat Art Gallery. Moore`s writings range from lyric to satire, from prose romance to history and biography. His popular "Irish Melodies" appeared in ten parts between 1807 and 1835. Moore was a good musician and skillful writer of songs, which he set to Irish tunes, mainly of the 18th century. This statue is of historic and aesthetic significance to the people of Ballarat.Marble statue of Thomas Moore above a large sandstone pillar West: Presented to the City Council of Ballaarat by the following citizens: H.F. Elliot, The Honorable E. Morey M.L.C., Cr C.R. Retallick, Cr J. Heinz. South: R.S. Mitchell, P. Papenhagen, T. Elliot, J. Snow, G.K. Coutts, C. Bailey, J.J. Goller & Co, W.E. Ballhausen, G. Thompson, W.H. Figgis. North: S. Seward, F.G. Haymes, Craig Williamson, R. Giddings, G. Berry, R. Inge, J.A. Pittard, L. Lederman, H. Bremer, D. Jones. thomas moore

The Peter Lalor statue by Thomas Nelson McLean is said to be a striking likeness of Lalor who is remembered as the leader of the Eureka Rebellion. The artist has depicted Lalor’s missing arm which he lost in the Rebellion efforts on of 3rd December 1854 and 4 bronze relief panels depict major events in Lalor`s life including his involvement at Eureka and in Parliament, where he served as the Speaker of the House. The cast bronze statue stands at a grand scale of 3 meters high and is mounted on a pedestal of polished Aberdeen granite. The statue was gifted to the citizens of Ballarat by James Oddie, who founded a number of Ballarat institutions and was the first chairman of the municipality. It was unveiled by then Premier of Victoria Duncan Gillies on 26 January 1883 to a cheering crowd reported to be in the thousands. The commission cost £2,200. The sculpture was unveiled by then Premier of Victoria Duncan Gillies on 26 January 1983 to a cheering crowd reported to be in the thousands, such was the popularity of Lalor and the appreciation of Eureka rebellion efforts. The statue is of historic and aesthetic significance to the people of BallaratThe cast bronze statue of Peter Lalor stands 3 meters high and is mounted on a pedestal of polished Aberdeen graniteNames of rebellion dead. Artist signature on bronze base.peter lalor, eureka rebellion, eureka, ballarat

The house at "Fintry" Lake Bolac, the home of Lewis Whiteway and Victoria May Wills and family and then of Lewis Wills and his wife Amy and their family. The house was constructed in 1906, the materials having been brought up from Geelong by ox-drawn dray. The fence of the tennis court can be seen extreme right with the bay-window of the sitting room through the wire netting. On the road is a wagon-load of redgum for use as strainer-posts.lake bolac, wills, fintry, ox-dray

THE MILL HOUSE- Albert Street, Tatura.|Reilly®s Flour Mill operated in Tatura from 1880 to 1965. The mill was demolished in 1966. James Reilly emigrated from County Cork, Ireland, spent two years on a family farm at Fitzroy, another two years at a mill at Kilmore, and then to Murchison to build a mill. Some of his family came to Tatura to build a mill. The house was built for members of the family to live in at various times. After the mill was demolished the house remained as a residence on about the only hill in Tatura. In the late 1970®s, early 1980®s a doctor added several upstairs rooms, then in the late 1990®s the house was used as a bed and breakfast. It is now a private residenceColoured photo taken Sept. 2004.mill house, albert street, tatura, photography, photograph, slides, film

Jim Reilly who worked all his life at Reilly's Flour Mill, and owned the house now part of the Museum. Newspaper article

W E Herring and his wife arrived in Brighton in 1887 to live in Roslyn Street. They had both been active members of the Fitzroy Street, St Kilda church choir. In 1937 Mr Herring recalled church life in the 1880s and 1890s. Houses were scarce and to reach the Wesleyan Methodist Church in Were Street, Brighton Beach a creek which had no bridge had “to be crossed – in winter, with the help of a hurricane lamp – and it was no uncommon thing for the preacher, if he were a stranger, to arrive late and breathless, or not at all.” In 1907 permission was given to form a tennis club at Were Street and Mr Herring was its first president. He was also the Were street Methodist Sunday School Superintendent, the Were street Methodist church organist and a member of the church’s Trust. “The Sunday School had a fine set of teachers. The rows of well-drilled and disciplined young life that filled the platform on Sunday School anniversaries, and sang their songs under the baton of Mr Herring, constituted a promise that was amply fulfilled as the years rolled on.”* *”Fifty years ago : a little history of Were Street Methodist Church” : Issued in commemoration of its Jubilee by Members of the Trust 1887 – 1937. To celebrate Queen Victoria's Diamond Jubilee Mr Herring composed an anthem. The Brighton Southern Cross, Saturday 26 June 1897, page 2 reported: "The diamond jubilee has been instrumental in evoking some local musical talent. Mr W. E. Herring, organist of the Were-street Wesleyan Church, not being able to find any anthem specially suitable to the jubilee services, set his musical genius to work and composed an original piece. The words are selected from the 72nd Psalm. The music is a very tuneful and well harmonised theme, which does credit to the composer's skill and taste. The anthem was rendered twice on Jubilee Sunday at the Were street Church." Stained wood turned music baton.w e herring, were street methodist sunday school superintendent, music baton, were street wesleyan methodist church

James Bickford (1816-1895), Wesleyan clergyman, was born on 6 May 1816 in Modbury, Devon, England, fifth child of John Bickford, tenant farmer, and his wife Anne, née Whiteway. He received an elementary education and then worked for a commercial house at near-by Kingsbridge in 1830. Although raised in the Church of England, Bickford joined the Wesleyan society at Kingsbridge and was appointed a local preacher in 1835. He decided to become a missionary, and after a short informal training by the Wesleyan Missionary Society was ordained on 29 October 1838. Rev James Bickford became superintendent of the Yarra Street, Geelong, circuit in 1866. He was elected president of the Australasian Conference in 1868. Increased involvement in public affairs followed his appointment to Wesley Church, Melbourne, in 1870 and he was associated with the Society for Promoting Morality and the Sabbath Defence Association. Despite his previous advocacy of a 'mixed system' of education he supported the Victorian Education Act of 1872 as the only solution to sectarianism. [Source: https://adb.anu.edu.au/biography/bickford-james-2993]Brown leather with gilt embossing and illuminated borders. The Testimonial contains the signatures of the Circuit Stewards.rev james bickford 1816-1895, wesleyan church geelong circuit

Discusses future cities and speculates on future trends. Looks back at ideas on the future of housing held by Boyd and his contemporaries in the 1950s and discusses how the reality of housing in the 1970s differs.Typewritten, quarto, 9 pagesfuture cities, apartments, suburban sprawl, modern houses, australian families, prefabrication, density, tensile construction, habitat 67, caravans, fred hoyle, tange, habitat 67, moomba, robin boyd, manuscript

Boyd argues that modern architecture has triggered a necessity for greater harmony between architects and engineers. Boyd describes the architectural qualities of tension structures through an analysis of several case studies including projects by Frei Otto and Boyd's own house at Walsh St. Being a relatively new concept, Boyd criticises the neglect towards smaller buildings in this structural system, and also highlights some of its shortcomings. A 2-page letter from 'Arthur' (surname unknown) at the University of Melbourne's Department of Civil Engineering provides feedback to Boyd on his analyses of the chosen case studies.Original manuscript of article published in The Architectural Review Vol.134, No.801, November 1963, pp. 324 - 334. This draft was returned with covering letter from: ‘Arthur’ (AJF) Melbourne Uni. Dept Civil Engineering. Typewritten (c copy), foolscap, 14 (+2 quarto letter) pagesMinor handwritten editsengineering, tensile structure, master-designer, bernard lafaille, zagreb french pavilion, matthew nowicki, livestock pavilion, frei otto, paul rudolph, florida house, bill irwin, kevin borland, peter mcintyre, john and phyllis murphy, yuncken freeman, sidney myer music bowl, eero saarinen, yale hockey rink, edward d. stone, brussels u.s. fair pavilion, boston arts centre, walsh street, robin boyd, manuscript

Discusses Walter Burley Griffin's effect on Australian architectural culture. Also considers his place within the Chicago School more broadly. Boyd believes Griffin to be more human, sensitive, and skillful compared to Frank Lloyd Wright, and laments that Griffin did not build more in Australia.This may be a lecture/talk - there are notes on the back.Handwritten, quarto, 2 pagesAll-caps inscription on the back of 2nd page - possibly a shorthand summary of the talk. Uncertain if this is Boyd's handwriting.walter burley griffin, old parliament house, canberra, louis sullivan, frank lloyd wright, capitol theatre, robin boyd, manuscript

The flames closed in on the house and Granny and the children were terrified. But meanwhile, high in the sky above them, exercising his powers in scientific rainmaking, was The Flying Dogtor. The sky was filled with rain and it put out the fire. Crafty Carson Carpetbag and Old Man Redback, with the help of Elvis Evil Eagle, got a hold of the rainmaking powder and schemed to start a flood.The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 5 pagesthe flying dogtor, robin boyd, crawford productions, manuscript

This scale model is an unbuilt Boyd design for a project names Carnich Towers on 60 Clarendon St, East Melbourne. Boyd's perspective drawings from the late 1960's show the influence of Japanese Metabolist thinking in his late work. This model was created for the House of Ideas exhibition, made by a University of Melbourne, Melbourne School of Design, Masters student.Model of Boyd designed Clarendon St Flats, East Melbourne 1969-1971 (unbuilt)robin boyd

Robin Boyd was asked to write this article, after Jorn Utzon resigned for the Sydney Opera House commission. Description of the tension between Utzon requiring more freedom to develop his ideas, and the pressure applied by Davis Hughes, State Minister of Public Works of NSW Government. Boyd describes the controversy, the outblowing of costs. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded. A reprint from The Architectural Forum pp 21-22.Also p23-24, pp 81-84.A reprint from The Architectural Forum, p21.sydney opera house, utzon, davis hughes, arne jacobsen, saarinen, arup, edward herbert farmer, sydney opera house project, walsh st library