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Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1905
Black & White photograph (reproduction) of Electric Supply Co. (ESCo) tram no. 13 near tram depot, Wendouree Parade, c1905. Photo made from a copy negative of an original held in the Archives. Tram not yet fitted with destination boxes. On front of tram is a driver, possibly an inspector by the ground, at rear is a conductor, two ladies seated on rear end and a gentleman on the front seat. Houses in background. Image is not full size to the photographic print. Tram lettered 'Ballarat Tramways' 2nd copy made for No. 12 display - 3/99. Copy made Oct. 2001 for the "gold, Gold GOLD" temporary exhibition - colour laser print onto card, with Velcro dots on rear. Stored in box D1 (Display Box) 02/2003. For a similar photograph see Reg. Item 5451. Hi Res version from scan of the copy neg added 4-5-2020 as i2.trams, tramways, esco, wendouree parade, tram crews, employees , tram 13 -
Kew Historical Society Inc
Certificate - Certificate of Appreciation to Mr John Watson Esq, Kew Methodist Church, 1907
"METHODIST CHURCH. In 1881, during the ministry of Rev. W. H. Fitchett, B.A., at Hawthorn, a number of members of the denomination living at Kew considered that the time was opportune for founding a local Church. The Superintendent of the Circuit, the Rev. W. A. Quick of Richmond, met the members and formed them into a society class under the leadership of Mr. A. Brown and a Church was formally instituted at the house of Mr. T. J. Eaton, of Eglinton Street, in December, 1881. Services were regularly held for some time at the same place, and funds for purchasing a block of land were gradually collected, resulting in the present site in Highbury Grove being purchased for £350. Messrs. W. Cleverdon, A. Money, T. E. Serpell, and T. Vasey, of Hawthorn, and Messrs. A. Brown, R. Eyre, and T. J. Eaton of Kew, were appointed trustees. A public meeting was held a the Town Hall, when over £100 was raised. The Rev. John Harcourt, who had just been placed on the supernumerary list, was persuaded to undertake the charge, and commenced services in the Town Hall on 29th April, 1882, which were continued for eighteen months. A Sunday School was started, and altogether the effort progressed so satisfactorily that in October, 1882, the foundation and memorial stones of the present Church were laid by Mr James Huddart. At the tea meeting held in connection with this event nearly £200 was raised and a few months later £250 more was obtained by means of a bazaar. The contract for building Church was let for £1,200. The Sunday School celebrated its first anniversary in June, and the Church was opened on 7th October 1883, the preachers on the occasion being Revs. E. J. Watkin, S. Chapman, and John Harcourt, the collections amounting to £230. Towards raising these sums of money the ladies of the congregation helped very materially. In 1886 the foundation stone of a Sunday school, to cost about £900, was laid by Mrs. H Berry, the building being opened in April 1887. During the same year the Church was enlarged. In 1889 parsonage was erected, and again arrangements had to be made for a further enlargement of the Church, at a cost of nearly £2,000. The foundation stones of the tower were laid by Rev J. Harcourt, and of the transepts by Mrs. Job Smith and Mrs. John Watson. These additions were made during the ministry of Rev. P. R. C. Ussher, the first minister appointed to Kew by conference. He has been succeeded by Revs. Henry Howard, J. de Q. Robin, J. J. Brown, J. G. Wheen, A. E. Albiston, M.A., and F. J. Nance, M.A., who is at present ably filling the pulpit. For the musical portion of the services, the Church has been greatly indebted to the enthusiasm of Mr. C. Gardner, the leader of the choir, and Mr. C. E. Gardner, the organist. The Sunday School has had a number of excellent workers, among whom may be mentioned Messrs. Burchett, Allum, Hillard, Tonkin, Dent, Avery, McDonald, Green, and B. Hoadley, who have acted as Superintendents, and Messrs. Arnall and McCaghern as Secretaries. The present trustees are Messrs. H. Berry, Job Smith, A. Hoadley, F. Vial, C. Powers, H. L. Carnegie, C. H. Green, W. R. Rylah, E. M. Tonkin, S. Gaylard, J. Gregory, J. R. McDonald, T. J. Eaton, F. S. Fitchett, and S. Lamble; Society Stewards, T. J. Eaton and B. Hoadley; Poor Stewards, G. Hinchliffe and G. Fraser; Church Stewards, C. H. Green and G. Hinchliffe; Treasurer, F. S. Fitchett; Secretary, S. Lamble." Source: FGA Barnard, Jubilee History of Kew, Victoria, 1910Commemorative tributes were regularly produced in the 19th and early 20th Century to honour community service. Most were adapted from traditional lithographed models. This example, while created within a formal lithographed border has been transmuted into the equivalent of an illuminated document, hand-painted, and therefore rare. The use of flowers in the design emphasises the sentimental and spiritual aspects of the certificate. The document is a rare unique record of the Kew Methodist Church's history.A hand written testimonial for John Watson Esq from the Trustees of the Kew Methodist Church. The customised colour lithograph includes, at lower left, a turn of the century photograph of the Kew Methodist Church in Highbury Grove. The entire certificate is surrounded by floral art and scroll work. The central text uses neo-gothic lettering.‘Dear Sir … in view of your compulsory retirement on health grounds, from the position of Church Steward, [the Trustees] desire to express their great appreciation of your long service of over 22 years, in that and other offices in the Church. They trust that you will yet be spared many years in fellowship with our Church, and that God’s richest blessing be on you, and your family. We remain, Yours sincerely A. E. Albiston (Minister), S. Lamble (Secretary), F. S. Fitchett (Treasurer), T. J. Eaton (Trustee), C. H. Green and Hubert S. Howell (Church Stewards); March 28th 1907’. john watson esq, kew methodist church, highbury grove, certificates, tesimonials -
The Beechworth Burke Museum
Animal specimen - Noisy Friarbird, Trustees of the Australian Museum, 1860-1880
The Noisy Friarbird are conspicuous and active Honey-eaters mainly seen in small groups and often active in flowering plants, especially eucalyptus trees. Noisy Friarbirds are found along the east coast of Australia, from north-eastern Queensland to north-eastern Victoria. They often feed in noisy flocks, alongside other Honey-eaters such as the Red Wattlebird. This specimen has been mounted in an accurate, yet stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Noisy Friarbird has a characteristically black head which lacks plumage and has a prominent casque (bump) on the base of its strong bill. The specimen has an off-white underbody and neck, a light brown back and tail with a white tip at the end of the tail. This specimen stands upon a wooden platform and has an identification tag tied around its leg.59a / Friarbird / See Catalogue Page 18 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, noisy friarbird, friarbird, australian birds, oz animals, wattlebird -
The Beechworth Burke Museum
Animal specimen - Bassian Thrush, Trustees of the Australian Museum, 1860-1880
The Bassian Thrush is a secretive bird, often difficult to see, as it is an unobtrusive species that forages among dense vegetation. When disturbed, it sometimes crouches on the ground and freezes, relying on its scalloped plumage to conceal its presence. The Bassian Thrush feeds on the ground, scratching under the leaf-litter for small invertebrates. This specimen has been mounted in an accurate and yet stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The plumage of this Bassian Thrush specimen is a mottled brown to olive-brown colour, heavily scalloped with black crescent-shaped bars on the back, rump and head. The paler underparts all have brown-black scalloping. It has a white eye-ring which surrounds glass eyes which have been included by the taxidermist to replace the originals. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing Tag: 44a / mountain Thrush / See Catalogue Page 15 taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, australian birds, bassian thrush, thrush, zoothera lunulata -
Flagstaff Hill Maritime Museum and Village
Functional object - Dorade Cowl, 1930-1940s
A dorade is a type of ventilator that permits the passage of air in and out of the cabin or engine room of a boat while keeping rain, spray, and sea wash out. The basic form is a low, rectangular box fixed to the deck or cabin top, fitted with interleaving vertical baffles. The baffles alternate to be free at the floor of the box, or free at the ceiling, forming a series of chambers. A horn-shaped ventilation cowl is usually fitted facing forward to a large hole at the top of the chamber at one end of the box with another large hole opening down into the boat from the chamber at the other end. Limber holes perforate the wall of the box at the floor of each chamber. Dorade boxes operate on the principle that air can pass relatively freely through the chambers, yet rain or sea wash will be trapped in successive chambers and drain out the small holes in the sides of the box. The first appearance of Dorade boxes was on the Olin Stephens-designed Dorade, a yacht built in 1929 for ocean racing. As originally built, the Dorade's vents led directly below, but this was found to allow water below, and the vents were modified in the early 1930s.An early piece of marine equipment from the 1930s and 40s that still is in use today on smaller vessels and ships.Dorade Cowl (Ventilator), brass casting with wide open mouth twisted to side. Painted red inside.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, dorade (ventilator), dorade, ventilator, marine equipment, ships fittings -
Flagstaff Hill Maritime Museum and Village
Functional object - Dorade Vent Cowl, 1930s
A dorade is a type of ventilator that permits the passage of air in and out of the cabin or engine room of a boat while keeping rain, spray, and sea wash out. The basic form is a low, rectangular box fixed to the deck or cabin top, fitted with interleaving vertical baffles. The baffles alternate to be free at the floor of the box, or free at the ceiling, forming a series of chambers. A horn-shaped ventilation cowl is usually fitted facing forward to a large hole at the top of the chamber at one end of the box with another large hole opening down into the boat from the chamber at the other end. Limber holes perforate the wall of the box at the floor of each chamber. Dorade boxes operate on the principle that air can pass relatively freely through the chambers, yet rain or sea wash will be trapped in successive chambers and drain out the small holes in the sides of the box. The first appearance of Dorade boxes was on the Olin Stephens-designed Dorade, a yacht built in 1929 for ocean racing. As originally built, the Dorade's vents led directly below, but this was found to allow water below, and the vents were modified in the early 1930s.An early piece of marine equipment from the 1930s that still is in use today on smaller vessels to improve below deck ventilation. Dorade Ventilator Cowl brass casting with wide open mouth twisted to side with swivel base. Box and baffles missingNonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ventilator, dorade, maritime equipment, ships fittings, ventilator box -
Eltham District Historical Society Inc
Photograph, Believed to be Jean Watson, c.1918
Jean Watson born 1906 was the only child of Christopher and Carrie Watson (nee Shillinglaw). She died at age 14 in 1920 as a result of an accident, cause as yet unknown. According to the Sands Melbourne and Victorian directories, Yeoman and Co operated from the Royal Arcade from 1892-1922. The Royal Arcade was located variously at 333 then 335 Bourke Street (South side) and Yeoman's operated at shop 11 and later 15. CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, 1892-1922, 1918, jean watson (1906-1920), shillinglaw family photo album 3, yeoman & co photographer royal arcade melbourne -
Monbulk RSL Sub Branch
Book, Pocket Books et al, House to house : an epic memoir of war, 2008
Ill, p.320.non-fictioniraq war - personal narratives, iraq war - battle of fallujah -
Melbourne Legacy
Photograph - Widows function, Widows Lunch, May 1993
Photo of Sir Edward 'Weary' Dunlop meeting widows he was a guest speaker for the Heidelberg Widows Club when they were celebrating their 10th Anniversary in May. This photo featured in the July edition of The Answer with the unfortunate footnote that Sir Edward had passed away on the 2nd July. "Our picture shows the gentlemanly Sir Edward charming the ladies. All were sad to learn of Sir Edward's death on 2nd July 1993." Another article in the September edition of The Answer was a touching tribute to Sir Edward by a legacy widow Dorothy Madigan: Sir Edward was so strong and tall, in body and in mind Yet gentle, too, he saw sick through their dying days in Thailand. This was the doctor's greatest challenge when all seemed hopeless and lost To improvise a theatre, and operate; for himself, at such a cost. Threatened with execution his face slapped many a time In spite of leg covered with ulcers he carried on, he carried on. And many an ex POW, will shed a tear today. For the love and care bestowed on him By Australia's most loveable son.A record of the relationship between Weary Dunlop and Legacy.Colour photo of Weary Dunlop meeting widows.Written on the back "C Pg 10" in blue pen.dunlop, widows, answer -
Mission to Seafarers Victoria
Programme - Catalogue, Open House Melbourne, Takie Hold of the Clouds, 2022
Catalogue for an artistic discovery Ttail during Open House 2022.Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events -
Bendigo Historical Society Inc.
Photograph - CABINET PORTRAIT OF A BOY & GIRL
Cabinet Portrait of a boy and a girl. The girl, Ivy May Muriel Dower (Born 1891 Bendigo, Died 1980.), is seated on a wicker couch and holding a doll. The boy Jack is John Adrian Dower, (Born 1893 Rochester, Died 1952 Paynesville) is standing to the front of the couch and holding a bat? On the back is written: To Grandma (Elizabeth Dower (Born 1833) from Ivy & Jack. Parents of Jack and Ivy are (James Martin Dower Born 1859, Fryers Creek, Victoria and Died 11th October 1942 at Brighton. Mother was Florence Amy Chalmer, Born 1867, Sandhurst, Vic, Died 13th August , Brighton Vic.1953). Dowar, Dunstan and Opie names are related and are associated with Bendigo district. The photo is part of an album with other members not identified as yet. Coincidentally Neville Davies from the BHS has this photo in his family history photographs. Contact Neville for details of who Ivy and Jack and Grandma actually are. Neville Davies provided information for the above.Alan Spicer, Bendigophotograph, portrait, dower family, cabinet portrait of a boy & girl, alan spicer bendigo, dower, dunstan and opie families related. part of an album. -
Bendigo Historical Society Inc.
Document - TOWN HALL, THE BENDIGO CHORAL SOCIETY, 36TH GRAND CONCERT, 31 August, 1927
Town Hall, The Bendigo Choral Society, 36th Grand Concert. Season 1927, Second Concert. Wednesday, August 31, 1927. Conductor W C Frazier ARCO. Presentation of S Coleridge-Taylor's Work. Part 1 Hiawatha's Wedding Feast. Artists Miss Jean Walker, Mr Hector Taylor. Part 2 The Death of Minnehaha, Artists: Mrs Lena Darvall, Mr Wilfred Taylor. Pianiste: Miss Eileen Hains ATCL. S Coleridge-Taylor's adaptation of Longfellow's poem, 'Hiawatha,' is a three-part Cantata, comprising the above two sections and 'Hiawatha's Depature.' Frequently the work is given abridged. The composer was an Englishman of African decent, and this, perhaps, led him to take such a keen interest in American Indian legends and negro folk songs. The work, while preserving the local color of the Indian legend, produces music which is bizarre and colorful, yet extremely beautiful. Hon. Sec. E H Collett. Hon. Asst. Sec. W F Mansell.Bolton Print, Bendigoprogram, theatre, the bendigo choral society, town hall, the bendigo choral society, 36th grand concert. season 1927, second concert. wednesday, august 31, 1927. conductor w c frazier arco. presentation of s coleridge-taylor's work. part 1 hiawatha's wedding feast. artists miss jean walker, mr hector taylor. part 2 the death of minnehaha, artists: mrs lena darvall, mr wilfred taylor. pianiste: miss eileen hains. hon. sec. e h collett. hon. asst. sec. w f mansell. -
The Beechworth Burke Museum
Animal specimen - Grey Crow, Trustees of the Australian Museum, 1860-1880
This specimen is named the Grey Crow on the swing tag but is more likely a Grey Currawong. There are six subspecies of Grey Currawongs and they can sometimes interbreed with other species of Currawong leading to a divergent series of appearances amongst the species. The species can be found in the south western to south eastern parts of Australia, including in Tasmania. It is an endangered species in the Northern Territory although the reasons why are not yet known. They prefer a wide range of habitats including coastal to arid and can also be occasionally found in suburban areas. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Grey Crow (or alternatively Grey Currawong) has mainly grey plumage with a white tail tip and darker undercarriage. It has yellow irises, made of glass, and brown claws. The bill is dark in colour. This specimen has been placed upon a wooden mount in a downwards facing position. It has a paper tag attached to its right leg.16a / Grey Cro [torn] / See Cat / [torn] /axidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, grey crow, grey currawong, currawong -
Flagstaff Hill Maritime Museum and Village
Map, Australien (Sudland) auch Polynesien oder Inselwelt, insgemein der funfte Welltheil, c.1990
This map is a reprint of Johann (Johannes) Walch’s “Australien (Sudland) auch Polynesien oder Inselwelt, insgemein der funfte Welltheil”, published in 1802. It shows Australia, New Zealand, South East Asia and the Pacific Islands shows a large number of places names, many of which have changed since the map was drawn. The map includes the routes and dates of the voyages of Tasman, Cook, Bougainville, Carteret, Byron, and others up to 1802. The shapes of the lands on this early map show that some of the areas had not yet been charted. The map was donated to Flagstaff Hill Maritime Village in April 1990 by the Group Study Exchange Team from Rotary District 233, Sweden. It was framed and presented by Rotary District 978 and presented by Barry Lange, the Governor of District 978 in 1989-90. (District 978, Geelong East, is now District 9780.) Johann (Johannes) Walch Johann Walch, painter and engraver, was born in 1757. He was well known for creating miniature portraits. He gained his training in Geneva, Venice and Rome. His publications include atlases and sheet maps, many of which were reprinted after his death in 1816. This reprint of an 1802 is significant for its historical and geographical contant, showing the voyages of many early explorers to the southern regions of the world including Australia. It also shows the early names used for countries and towns and is a valuable reference to historical interpretation. The map itself is a fine example of hand drawn and hand coloured maps of the early 19th century, the method of production, detail included, layout, symbols and so forth.Map, reprint of Johann (Johannes) Walch’s “Australien (Sudland) auch Polynesien oder Inselwelt, insgemein der funfte Welltheil “, first published by in Ausburg in 1802. The image on this Map No 5B, shows Australia and the south Pacific. The timber framed, glass covered, printed and coloured map was created in two sections and joined. Brass plaque at base of map states that the map was presented to Flagstaff Hill by Rotary International in April 1990. Feint lines used for aligning lettering can be seen on the map and there are large erased letters such as a “D” and “S” that are almost obscured.Plague “ROTARY INTERNATIONAL / THE MAP WAS DONATED BY THE GROUP STUDY EXCHANGE TEAM / FROM ROTARY DISTRICT 233 SWEDEN IN APRIL 1990 / AND WAS FRAMED AND PRESENTED BY ROTARY DISTRICT 978 / BARRY LANGE – GOVERNOR DISTRICT 978 1989/90” Stamped on back “ELLIMINOOK FRAMES / MRS. JILL FALKINER / ELLIMINOOK / BIRREGURRA, VIC. 3242 / PHONE: (052) 36 2080” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, australien (sudland) auch polynesien oder inselwelt, insgemein der funfte welltheil, johann (johannes) walch, cartographer johann (johannes) walch, ausburg publisher johann (johannes) walch, johann (johannes) walch map number 5b, 1802 map of australia and south pacific, rotary international group study exchange team, rotary district 233 sweden, elliminook frames, voyages of tasman, voyages of cook, voyages of bougainville, voyages of carteret, voyages of byron, barry lange, painter of miniature portraits johann (johannes) walch -
Melbourne Legacy
Postcard, Thoughts in Absence, c1917
Sometimes called a sweetheart postcard, it was a way of sending thoughts to the troops overseas. The poem on the front, with the image of a woman writing to her loved ones, says: "In distance we are far apart . . . / Yet loving thoughts can span the ocean blue / And warm good wishes sent in fond remembrance / Speed swiftly o'er the sea from me to you.' The British, Australian and French flags and Australia wattle provide more symbolism, the horseshoes for luck, and a hand shake. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. There was a large collection of postcards so he may have been collecting them as souvenirs. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 for Europe. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving in Portsea in 1920.A record of correspondence with the troops in World War 1 and sending good wishes with a hamper. This type of experience would have been familiar to the first Legatees as they had served in World War 1.Postcard with a lady writing and men fighting, horseshoes and wattle.world war one, souvenir -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This image shows a view of a properties bordering a river in the vicinity of Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the water source pictured may feed into the bigger system that flows through Beechworth Gorge. A man wearing a hat, possibly the photographer, is silhouetted in the foreground of the picture. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, photographer, beechworth gorge, river, stream, water source, 1900s -
Glen Eira Historical Society
Album - Album page, Cromarty, Sandham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created as part of a project from approximately 1966-1972 by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. This album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia Victoria and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Photographers Jenny O’Donnell and Trevor Hart, members of Caulfield Historical Society. Some photographs are older and from unknown sources. All photographs are black and white except where stated. From Victorian Heritage Database citation for HO61 Presentation Convent, 28 Sandham Street Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35476 (as at 1/11/2020) The "Presentation Convent" is locally significant as a substantial late Victorian villa residence in Elsternwick and for its more recent role in the educational and spiritual lives of the community. https://vhd.heritagecouncil.vic.gov.au/places/65716 (as at 21/08/2021) National Trust Property No B2713 Typical of period but yet interesting for association with Horatio Beauchamp. Classified 26/11/1970 Victorian Heritage Database citation for HO61 Presentation Convent, 28 Sandham Street Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35476 A substantial two storeyed stuccoed asymmetrical Italianate villa residence, representative of its period, with two storeyed cast iron verandah and projecting facetted bay with trabeated treatment to the ground floor and round arched upper level windows with distinctive moulds.Page 185 of Photograph Album with one photograph of Cromarty.Handwritten: SANDHAM STREET [top] / CROMARTY - OLD CLASSROOMS [under photo] / 185 [bottom left]trevor hart, chimneys, porch, cast iron lacework, school, education, presentation sisters, catholic girls college, balcony, verandah, presentation convent, sandham street, victorian villa residence, villa residence, cast iron frieze, cast iron columns, protruding bay, bay window, 1880's, double storey, cromarty, chiselhurst, chisel hurst, horatio beauchamp, elsternwick, classrooms, class rooms, late victorian style, arched windows -
8th/13th Victorian Mounted Rifles Regimental Collection
Photograph
The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Black and white photograph of Brigadier H.H. Hammer, Commander 2nd Armoured Brigade and Staff - Sargeant R.J. Roberts, Orderly Room Sergeant of 8/13 Victorian Mounted Rifles.Comd 2 Armd Bde, Brig H.H. Hammer, pinning British Empire medal on S/Sgt R. J. Roberts, Earlsfield Road, Hampton, O/Room Sgt of 8/13thVictorian Mounted Rifles at Puckapunyal Camp during 14 day camp of Regiment in January. S/Sgt Roberts saw service in M.E., England, and South Africa with Australia Mil Liaison Staff. S/Sgt Roberts was a member of champion Victorian debating team, and trained Regt team to highest standard yet attained in services.Gave up great deal of own time in this work, and also re-organizing orderly rooms of units in country areas. Is a member of ARA. -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s - set of 2, 1905
Black & White Photograph of one of the ESCo Toastracks being assembled in the Exhibition Buildings in Grenville St., north of the Alfred Hall in 1905. The other open Toastrack or Summer tramcar is behind this tram, with other California Combination cars on the sides. The trams have yet to be fitted with wheels or equipment, including headlights. Note the front dash panel has been painted, but no headlight opening or cut out. The print for this photograph made from a copy negative of page 454 of the Australasian, August 19, 1905 in 1993. Print includes caption (all in caps) "Summer Traffic Car: to be used in trips to and from the Gardens. It is without sides, and has reversible backs. Ballarat Electric Tram Service". See Reg. Item No. 763. Copy 1 made for No. 12 display 3/99. 754.1 - added 6/12/2004. Same print with details of source written on the rear. ARHS Vic. Div. Photo Number 771/24, ex Latrobe Library. Not as good as print as above. See Alan Bradley, draft Chapter 3, of the history of Ballarat Tramways.trams, tramways, esco, tramcar construction, exhibition buildings, ballarat, toastrack tram , tram 19 or 20 -
The Beechworth Burke Museum
Geological specimen - Native (metallic) copper, Unknown
This specimen is a native copper specimen that is metallic. Copper is typically found in the earth's crust and is often found alongside other metals such as gold, zinc, lead and silver which all belong to the same group which is the Copper/Gold group. Copper is most commonly formed from large masses of molten lava rock which has solidified in the earth's crust and over time though different sizes and speeds of crystal growth has turned into large amounts of copper, stored in porphyry copper deposits. Copper has a distinctive colour, yet can sometime appear blue and greenish which is often caused by oxidisation or a mixture of copper and other metals. This specific specimen was recovered from Moonta, South Australia. The Moonta Mining Company was established in 1861, after a Shepard in the area noticed traces of copper. This lead to a rush in the copper mining industry which was relatively young in Australia at the time, making Moonta Mining Company one of the richest in Australia. By the 1860's, South Australia had been nicknamed the "Copper Kingdom" due to its vast amount of Large copper mines and resources. As of 2016, Australia was the second largest producer of Copper internationally, following behind Chile in first place. This copper specimen is significant historically and scientifically as it is such an important metal commonly used throughout the world in various ways. Copper is an invaluable recourse used in daily life, used in most electrical appliances as it is a great conductor of heat and electricity, as well as being soft and malleable, making it easy to bend and mould into delicate sheets and wires. Copper does not corrode and is therefore used in the production of water pipes among countless other significant necessities that are often overlooked in our society. Historically, Copper holds great significance as it was the first metal used by humans. It was discovered roughly 9000 years ago and was utilised by the Neolithic Man who learnt that heating the metal made it more malleable, thus tools and utensils were made which were far superior to the previous stone tools used by humans. This history and its connection to the current and ongoing relationship between humans and copper must be preserved and highlighted as it is integral to the history of all humankind. A small, palm-sized solid native copper mineral specimen with shades of browns, black and rustic tones throughout the specimen.NATIVE (metalic) COPPER / Locality: Moonta, South Australiabeechworth, burke museum, geological specimen, native specimen, geological, mineral, mineralogy, indigo shire, beechworth museum, copper, copper ore -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice -
Williamstown High School
Mr Bowe - Principal 1956-60
Copy of black and white photograph mounted on board. Accompanied by a caption.Caption reads: Mr Bowe Principal 1956-1960. This enlargement from a Golden Jubilee photo 1965. 'You must learn to be free yet accept the full responsibility of doing, of your own free will, what is reasonable to expect of you... You must learn to live in a community of nations... You can start to learn at once by living in harmony with your fellows at school. Your opinion is important. Do your part towards forming this teenage group conscience which is such a powerful source in your school.' High Tide 1957 'the world cries aloud for the exercise of tolerance. It is more necessary today than ever before in a world torn by distrust and suspicion.' High Tide 1958.williamstown high school, 1956, 1957, 1958, 1959, 1960, principals -
Federation University Historical Collection
Document - Document - Memo, VIOSH: Ballarat College of Advanced Education; AIDAB Training Course, 1983
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. Memo to Derek Woolley from Dennis Else about information from Melbourne Regional Office about course to be run at Ballarat. No final decision has been made in Canberra as yet. Nominations from India have come and the Indian Government very keen for the course to take place. See photograph 26735 See also document 26687Two A4 pages. One typed memo, one shows advertisement re training courses availableSignature of Dennis Elseviosh, victorian institute of occupational safety and health, dennis else, derek woolley, aidab, australian international development assistance bureau, indian government, canberra, melbourne regional office, graham ward -
Mission to Seafarers Victoria
Poster, Ying-Lan Dann, Circular Temporalities, July 2022
Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events -
Merri-bek City Council
Work on paper - Charcoal and pages from Aboriginal Words and Place Names, Jenna Lee, Without us, 2022
Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork -
Churchill Island Heritage Farm
Clothing - Stole, Silk
Silk is a fascinating fabric and its existence dates back to antiquity. Several kinds of wild silk produced by caterpillars other than the mulberry silkworm, have been known and spun in China, South East Asia and Europe since ancient times. The major trade route between Asia and Europe was known as the Silk Road. Commercial silk is produced from the mulberry silkworm which produces two white filaments of thread held together by a glue-like substance called sericin which hardens on the cocoon in the air. These filaments are so fine that it takes anywhere from three to ten strands to make a useable silk thread. The molecular structure of the silk is such that the surface of the woven fabric has a sheen that reflects light to give a characteristic lustrous appearance. Silken fabric feels cool against the skin yet its structure is such that it holds body heat and mosquitoes and biting insects can’t sting through it. This luxurious silk stole would have been warm over an evening gown on a cold evening. At 269cm in length and 67cm wide it would be the ultimate in comfort and appears to be hand painted with chrysanthemum style flowers leading one to assume that the silk fabric is of Chinese origin, although it is unknown when the painting would have been done.Rectangular length of white silk with hand painted pink flowers and leaves.Packaged with note: "Hand painted silk stole from Janet Amess Collection".churchill island, silk, stole, jane, janet, amess -
Ballarat Tramway Museum
Photograph - B&W print of donated negative - set of 2, State Electricity Commission of Victoria (SECV), c1936
Yields information about the installation of the service pits in the depot during 1935/1936 and the methods usedSet of 2 Black and white photo prints from collected negatives of the construction of service pits and the pit for the wheel grinder at the SEC Ballarat depot building, during refurbishment by the SEC during the 1935/ 1936. 1352.1 - Formwork being set up for the service pit in No. 1 road at the SEC depot. 1352.2 - finished concrete walls for pit and wheel grinder on No. 4 road at the SEC depot, but not yet fully backfilled. No. 12 at the front of the depot and two other single truckers on adjacent tracks. 2nd copy held of 1352.2 ex moveable display boards. Colour photocopies laminated of these photographs on display 6/2000 at 02-02-06. 3rd copy of 1352.2 added 14-08-2006. See Reg Item 3806 for a photograph of the grinder in use. Copy 4 - of both photos - large format prints (203H x 253W) - added 28/7/2007, ex Alan Bradley holding of prints, received 5/2007. See also Reg Item 3901 for a mounted set of these photographs along with those of Reg Item. 1351, Neg rescanned 14/5/2020 at 3200dpi, images replaced. tramways, trams, wendouree parade, sec depot, rehabilitation, service pits, wheel grinder, tram 12 -
The Beechworth Burke Museum
Animal specimen - Northern Hawk Owl, Trustees of the Australian Museum, 1860-1880
The Northern Hawk-owl is a nomadic and generally solitary bird, although they can occasionally be seen in pairs. While these birds resemble owls, their behaviour is more similar to that of a hawk, hence their name. Normally active during the day (similar to the hunting habits of a hawk), they prefer to reside in boreal forest, grasslands, shrublands and temperate, cold and polar zones. Located in North America, Europe and Asia, these owls can also occasionally be found during migration, in the northern United States. There are three subspecies in North America, Central Asia and Siberia. At the present time (2021), its numbers are stable and so it is therefore considered of ‘least concern’ on the IUCN Red List, indicating it is not yet endangered. This particular specimen has been correctly mounted and presented as a relatively accurate representation of the actual bird. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Northern hawk-owl's face features white and brown soft feathery plumage and a dark brown border around its face/chin area, with a dark cream curving beak soft yellowy brown coloured eyes. Its front breast feathers are generally off white in colour with some flecks of brown. It has a long brown tail with off white banding, with creamy white claws. The owl has speckled brown and white plumage over the back of its body and wings and some areas of more solid brown are present around the back of its neck and top of wings. This specimen stands upon a wooden platform and two identifying tags hang from its right leg, while a metal numbered tag hangs from its left.Swing-tag: 38 / Rayed Swin Owl –/ See Catalogue, Page 53. Tag with faded script: No 33 Strix[?] / misarea[?] / Sweden[?] Metal tag - digits on metal tag appear to read, either ‘5028’ or ‘6028’taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, surnia ulula, strigidae, northern hawk-owl, hawk-owl, canadian owl, hudsonian hawk-owl, owl, canada, asia, europe, north america -
Tatura Irrigation & Wartime Camps Museum
Instrument - Cornet, Brass Cornet
After WW1 the Wilhelma Templer village bought ex WW1 German Armed Forces Brass instruments for their own Brass Band. The Treaty of Versailles forbade Germany from having more than a 10,000 man army thus creating a flood of unwanted instruments with no one having cash to buy them. With the deportation in August 1941 by the British Mandate of most Templers from Palestine to Australia, one of the young bachelors, Gustav Reichert, obtained permission to bring these instruments to Tatura. This he did and, in Camp 3, a band was reformed to entertain members of both internees and often, Camp Authorities. Gustav enjoyed playing the double brass with the Melbourne Templer Brass Band in the 1960-1970's. The above instruments have semi-rotary valves, as traditionally French Horns do, unlike most Anglosaxon bands, where piston valves are used almost exclusively. Yet in German the name Piston is commonly used for cornet. Though battered, these instruments are all still serviceable for their intended use, some more so than others. Their canvas carry bags offered little protection. The group comprised 1 double bass, 1 Euphonium, 1 valve bass trombone, all in C, 3 baritones in Bb (German tenor horns), 3 cornets in Bb, 1 soprano cornet in Eb, in all 11 instruments. Some of the got "lost".Brass cornet with a canvas carry bag.brass instruments, wilhelma templer village, camp 3 band, gustav reichert -
The Beechworth Burke Museum
Photograph - Lantern Slide, c1900
This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall