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

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

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

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

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

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

ROWING CLUB We are all delighted at having invited Brighton Grammar to use our Club's gear. So take heed, all-comers. you may yet see the Sommers As Head-of-the-River next year ! In common with many, we're short of a penny Our small nexus perplexes, we fear. But the Vic. State election has eased our dejections. And with more funds or new pair may appear. To increase the votes, all those our boats Canvassed Toorak - 'twas really a dash. A fifty pound cheque, the reward r our trek, Is now name our books "Petty Cash." At Vienna's Olde Inn, the Annual Club Din. On May two was a splendid assembly. Such fine fare and good fellows, their voices like bellows, You'd have thought it a final at Wembley.

Negative No. N379 and black and white print made by a laser printer (stored in folder) of Ballarat No. 21 at the City terminus, with Gardens via Sturt St. West destination. Tram has been painted with tiger strips on bumper bar and under destination box, and a white stripe painted over the car under number under the windscreen. Additional lights and cover yet to be fitted. Car is fitted with plain weather blinds. Photo by Travis Jeffrey, 1960. Travis advised that the driver could be Max Green, ex ESCo employee, Brother in Law of Mrs Gwen Kellett. Has the Commonwealth bank and National Mutual building in the background and Berry Anderson printers. On front of tram is an advertisement for Mutual Homes. Date of photo on folder 28/9/1961. This date appears to be incorrect, as Reg Item 417, Wal Jack photo of 2/1/61 shows the tramcar in the same stage of conversion. Probably taken 12/1960 or 1/1961. Large print of this photo made for display 1995c. Item updated when negative added to collection - 11/5/2003. Original negative rescanned 24/5/2020 and image file updated. Paper print of original photo in folder 73.Paper folder that contained the negative had "NR50A" in red ink, "BA6" in pencil, date stamp of "28 Sep 1961" on front, and on rear date stamps "26 Sep 1962" and "6 Oct 1962".trams, tramways, sturt st, city terminus, tram 21

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Digital copy of an original MMBW plan. This contour plan shows the area identified by the MMBW for purposes of drainage and sewerage in 1894. The suburbs represented extend from Williamstown in the west to Bulleen in the east, and from Preston in the north, south to Sandringham. Suburbs are outlined in coloured ink. Red lines indicate main and branch sewers in existence at the beginning of 1894 in central and inner Melbourne. These extended as far as Williamstown and Brighton, but not yet as far as Kew, where sewering did not commence until 1901. Contour lines show the topography, which was important for indicating the fall of the land for the laying of sewers and drainage channels. Kew appears to be fairly undeveloped at this date except for railway lines and stations (the Kew and Outer Circle lines), main roads, the Kew Lunatic Asylum Reserve and Studley Park. However, the contour plan does not accurately represent the density of settlement, nor the large number of houses, which were being built in Kew and other suburbs from the 1850s to the land boom of the late 1880’s and early 1890’s. This plan is part of a large and historically significant group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989.mmbw contour plan of melbourne and suburbs, melbourne and metropolitan board of works, melbourne sewage, cartography

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

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

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, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades

The Flora and Fauna Names Project is an initiative of the Victorian Aboriginal Corporation for Languages and the Victorian Biodiversity Strategy. The researcher has examined material from the archives of the Department of Natural Resources and Environment (NRE), the State Library of Victoria, the Victorian Public Records Office and the Australian Archives Office. This first stage of the project focussed on the NRE archives, in particular the field notebooks of the earliest surveyors and their maps although other NRE resources, libraries and public records were accessed. A total of 3028 words were found of which a significant proportion have previously been unknown to linguists. It appears that the place names and word lists in early surveyors notebooks, the 1858 surveyors responses to the Surveyor General and an extensive Wiradjuri wordlist by James Baylis have not yet been widely used or published. Fifteen percent of these 3028 words describe flora and fauna and six percent describe habitat. Of particular interest is the evidence provided by these lists of the existence of fauna in the mid nineteenth century in regions where it is now extinct. For example, magpie geese, eastern quolls, bustards and pademelons were assigned names in the Jardwadjali language area of the upper Glenelg and Wimmera Rivers. The outcomes of this project may help to assist in ascertaining the distribution of flora and fauna assets in Victoria.maps, b&w photographs, colour photographs, illustrations, word listswiradjuri, jardwadjali, glenelg river, wimmera river

Yields information about Ballarat Tramways and trams prior to the closure of the tramway system.Set of 10 digital images of Ballarat trams prior to closure, scanned from original slides by Stuart Lodington, 1971 prior to closure of the system. .1 - No. 17 at the City Centre, Sturt St, south side, with Gardens via Sturt St on destination roll. Can see the ESCo switch box in the back and the stop and section sign on the adjacent pole. .2 - No. 26 at Sebastopol terminus alongside the Royal Mail Hotel. The tram has yet to turn the pole or the destination roll. Note the Bus Stop sign on the pole, just prior to closure. .3 - ditto .4 - No. 27 and 30 crossing in Skipton St at the Bell St loop (see also btm4975i3) .5 - No. 32, Gardens, about to enter the Carlton St loop, with Lake Wendouree in background, Wendouree Parade. .6 - No. 32 at Depot junction, good photo of depot trackwork entry area. .7 - No. 21, Wendouree Parade, Gardens area, north bound, showing Gardens via Sturt. .8 - No. 12, inbound on Sturt St west at a tram stop. Has destination of Mt. Pleasant. .9 - No. 27 at Lydiard St north terminus with the shelter in the background. .10 - No. 21 at Gardens Loop, tram has destination of Mt. Pleasant. Crews sitting in the saloon.trams, tramways, ballarat, sturt st, sebastopol, drummond st sth, wendouree parade, carlton st, depot, depot junction, trackwork, gardens, sturt st west, crews, tram 17, tram 26, tram 27, tram 32, tram 21, tram 12

A poignant poem by CJ Dennis about Anzac soldiers from World War 1. The date was located from Trove. The Army of the West BY C. J. DENNIS HERE was tramping, a tramping, a tramp of many feet. The young men, the strong men were marching in the street, Marching for a new land, at the Old World's call, With the sun upon their faces — straight lads and tall, The chosen of a leal land that yielded of her best. "Pack your kit," the soldier said, "for the ships sail West," Then Anzac, oh, Anzac! A new name on the tongue — A proud name and a precious name to mark the valiant young — The valiant young who went so gay across a troubled sea, The glorious young who slept so deep upon Gallipoli. There was tramping, a tramping, a tramp of weary feet. The spent men, the worn men, were marching in the street- Marching to the wild cheers, home at last from war, With a wisdom on their faces that we had not known before: Wisdom of the veteran, earned at our behest, "Now sound the call," the soldier said, "for the boys gone West." But Anzac, oh, Anzac! Dearly they bought the name Who lit upon Gallipoli that everlasting flame — The flame to light the path for men who live beyond their day; While in the West the glory grows, as soldiers drift away. There is tramping, a tramping, a tramp of steady feet. The grey men, the grave men are marching in the street; And maimed men and blind men and shattered men are here. But many a man he marches not who marched last year. Gathered to his comrades, to the Army of the Blest. "Close up the ranks," the soldier said, "for the boys march West." But Anzac, oh, Anzac! Surely no day shall come When that fame shall not be quickened in the roll of every drum; In the call of every bugle let the name be vibrant yet, In a great land of strong men — who never shall forget. There yet will be a tramping, a tramp of dwindling feet, As the last old, old men come marching down the street; Marching now with memories, phantoms at their side, To the cheering of their strong sons inheriting their pride; Inheriting a shining gift won in a bloody quest, "Harkl" the aged soldier says. "The bugles call us West." Then Anzac! Anzac! Oh, what a mighty cry- When that great hymn of greeting goes shouting down the sky, As the last recruit comes marching to the singing of the rest, And the last man answers roll-call in the Army of the West. It was in a folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). Some notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The documents from this folder have been added in seperate records (see 01262 to 01282). The folder was part of an attempt to capture history of Legacy, generally from the 1950s.The documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future. This poem might have been included for its portrayal of Anzacs.A poem by CJ Dennis printed in a newspaper.history, world war one, poems, poetry

A colour tinted photograph of Murchison Street in Marysville in Victoria.A colour tinted photograph of the main street in Marysville in Victoria. This is now known as Murchison Street. This postcard was produced by Murray Views in Gympie in Queensland as a souvenir of Marysville.POST CARD STAMP REAL PHOTOGRAPH PRODUCED IN/ AUSTRALIA BY MURRAY VIEWS, GYMPIE, Q. Tuesday 16th/ Mount Kitchener House/ Marysville Dear Bill & Fran,/ Just a card hoping to find all well./ It is very cold night & mornings up here, only/ had a wet day though. The meals are very good/ here. I'm sure we shall both be pounds heavier./ Been fun 50th to be here, coming & going all the time./ We've been a few trips & for nice walks, some/ very stiff climbing. We are leaving here on/ Saturday morning & going to our friends at/ Heronswood for 2 or 3 days. Have you heard any/ thing of Bert's affair yet. We have been watching/ the papers. No more for now. Love to all./ Best wishes & love from us both - Bess. xoxmurchison street, marysville, victoria, murray views pty ltd, murray views no. 16., postcard, souvenir

The Olive-Backed Oriole are very common birds for northern and eastern Australia, as well as New Guinea. Similar to the Yellow Oriole, this species is more versatile yet less distinctive in colouring. The streaked underparts and red bill and eyes are easy identification features of this bird. Both sexes look very similar, with female colouring being slightly duller than males. This species frequents open forests and woodlands, and can tolerate dry climates. Most of this species breeds from September to January during the tropical wet season in northern Australia, but some are known to migrate south to breed in the summer. This species eats mainly native fruit, berries, and insects. This specimen is a good example of this species, but the colouring is very dull compared to living birds. This specimen has one red eye, which is a good example of a distinctive feature of this species. 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 Olive-Backed Oriole has a faint olive-green head and back, and a faint red-tinged beak. Its body is cream coloured with brown streaks. It has one red eye. This specimen appears to be immature and/or female, as it has a pale pill and a duller-olive green back, with streaks quite high up on it's chin, which is indicative of an immature female of this species. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 52a / Australian Oriole / See catalogue page 17. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, oriole, olive-backed oriole, yellow oriole, australian birds

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatergoers.Not very significant as not associated with a historic event or person and made during the first half of the 20th Century and many are still available and easily sourced.Vintage Pair of Opera Glasses, with cow bone barrels and eyepieces, both barrel pieces have split in them, both metal end barrels each have a minor dent, optics are pretty clear no mould although have very minor dust spots inside, they look like they were gilded at some point but most of this has rubbed off glasses have a black leather case with blue lining. No markings whatsoever anywhereflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, binoculars, opera glasses, theatre glasses, optical instrument, cow bone

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatregoers. A vintage pair of 1920s opera glasses probably made in France by an unknown maker the item is significant due to it's provenance that can be traced and it's completeness as a useful social item and fashion accessory used by theatergoers from the mid 19th century and well into the 20th century. Some people still use modern variants of theater glasses today to improve their enjoyment of the theater.Both glasses and case are covered with black and white snake skin. Case lined with purple velvet, and has brass closure clip.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, opera glasses, serpentine opera glasses, binoculars, accessories, optical instrument, scientific instrument, theater glasses, french opera glasses, hans lipperhey

The International Committee of the Red Cross was formed in 1862. Initially its purpose was to try and find ways of overcoming the inadequacy of army medical services so as to alleviate the suffering of those wounded in armed conflict. Over time it has extended its work to include many forms of humanitarian aid in times of peace and war. The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It is especially remembered in the provision of “comforts” for soldiers overseas. Enormous sums of money were raised, and thousands of women volunteers contributed their time by making vast quantities of clothing: socks, vests, mittens, mufflers, pyjamas and a variety of linen. Items were sent to headquarters located in the state capitals, often using government houses as depots, where, after being sorted and packed by yet more volunteers, they were sent to Britain or the front. The effect of this work for the recipients was to bring comfort in its truest sense, for a seemingly trivial gift of a bar of chocolate of a pair of dry socks could bring the most profound relief for a soldier on the Western Front. From the date of its inception until the armistice the ARCS dispatched 395,695 food parcels and 36,339 clothing parcels Between 1914 and 1918 more than £3,500,00 was collected and spent on Red Cross services to the Australian Forces and Empire Forces. During WW1 and WW2 Red Cross raised funds selling buttons.Early settlers in Moorabbin Shire held fundraising events for the support of Red Cross Victoria and made cakes and knitted socks, gloves and scarves for distribution to serving men and women Metal buttons with printing on themRed Crossred cross, fund raising buttons, wwi, wwii, french red cross, british red cross, market gardeners, early settlers, moorabbin shire, bentleigh, cheltenham, caulfield repatriation hospital

The International Committee of the Red Cross was formed in 1862. Initially its purpose was to try and find ways of overcoming the inadequacy of army medical services so as to alleviate the suffering of those wounded in armed conflict. Over time it has extended its work to include many forms of humanitarian aid in times of peace and war. The Australian Red Cross Society (ARCS) was formed just after the outbreak of the First World War in August 1914, originally as a branch of the British Red Cross. It is especially remembered in the provision of “comforts” for soldiers overseas. Enormous sums of money were raised, and thousands of women volunteers contributed their time by making vast quantities of clothing: socks, vests, mittens, mufflers, pyjamas and a variety of linen. Items were sent to headquarters located in the state capitals, often using government houses as depots, where, after being sorted and packed by yet more volunteers, they were sent to Britain or the front. The effect of this work for the recipients was to bring comfort in its truest sense, for a seemingly trivial gift of a bar of chocolate of a pair of dry socks could bring the most profound relief for a soldier on the Western Front. From the date of its inception until the armistice the ARCS dispatched 395,695 food parcels and 36,339 clothing parcels Between 1914 and 1918 more than £3,500,00 was collected and spent on Red Cross services to the Australian Forces and Empire Forces. During WW1 and WW2 Red Cross raised funds selling buttons.This Carnival was an example of the support given to Red Cross by market gardeners, early settler families and schools in Moorabbin ShireDandenong Red Cross Carnival 1917red cross, dandenong, springvale, chelsea, dingley, keysborough

The Former Clyde Cameron College was constructed in 1976-7 as a residential training college for trade unions. The college was commissioned and operated by the Trade Union Training Authority (TUTA) from 1977 until its closure in 1996. The design team was the Architects Group and the Commonwealth Department of Construction was responsible for site supervision and contract administration. The building was constructed jointly by Costain Australia Ltd and M.A. & A.W. Chick of Albury. The foundation stone was unveiled by Clyde Cameron in 1976. He was the serving Federal Minister for Labour from 1972 to 1974, Minister for Labour and Immigration 1974 - 1975 and Minister for Science and Consumer Affairs in 1975. The building was completed at a cost of $6.5 million in 1977. It was one of the most controversial of the 1970s due to its Brutalist architecture. The complex consists of a series of wings of one and two storeys linked by pre-cast concrete pipe walkways. Inside the wiring and pipes were left exposed and painted in primary colours to show off the workmanship. The accommodation, most of them single rooms, were able to house 70 students at a time with 1200 students to go through each year. The training college was closed in 1996 and was taken over by the Murray Valley Private Hospital and Murray Valley Radiation Oncology. In July 2008, the Royal Australian Institute of Architects awarded its “25 Year Award for Enduring Architecture” to Clyde Cameron College. The building was again sold in February 2023, although its future is yet to be determined.The former Clyde Cameron College is of architectural significance as an example of the late twentieth century Brutalist style and the work of Victorian architect and lecturer Kevin Borland. It also has historical significance for its association with the Trade Union movement, and the Whitlam government, including its role as Australia’s first residential trade union training facility. It is a physical reminder of the influence of the union movement in the 1970sA collection of colour photographs documenting the buildings at the former Clyde Cameron College, Wodonga.clyde cameron, trade union training, clyde cameron college

Handwritten copy of a report in the Bendigo Advertiser 12/7/1910 Page 2. New Chum Mines. Progress of Bailing Operations. The bailing operations at the New Chum mines have not yet had the desired effect of lowering the water. On the contrary the water continues to rise in the Victoria Quartz which is the mine most directly affected. It is expected that the necessary preparations at the Lazarus will be completed today when it is hoped that bailing will be commenced at that mine. The success of the bailing scheme will largely depend on the efforts of the Lazarus to cope with the water and the progress made during the next few days will be awaited with interest. It is generally believed that the great volume of water is coming north from the southern group of mines. The companies south of the New Chum Consolidated are not bailing, and the pumping service at the New Chum Railway which is installed down to the 550 ft. level has not been operated since that company abandoned work a few months ago. A perusal of the statistics of the New Chum Drainage Association shows that the pumps at the New Chum Railway were lifting on anaverage close on 1,000,000 galls of water per month in the winter. That great volume of water is now pouring from storage dams at 550 feet to the deep levels, and in the natural order of things will have to be lifted by the tanking system in vogue at the mines N.' Document from Albert Richardson Collection of mining history.document, gold, drainage problems, new chum drainage association, victoria quartz influx of water, bendigo advertiser 12/7/1910 page 2, victoria quartz, lazarus, new chum consolidated, new chum railway, new chum drainage association

Black and white photograph of MMTB No. 58 in Wellington St. St Kilda, about to enter St Kilda Junction and continue to St Kilda beach via Fitzroy St St Kilda, late 1925 or early 1926 - Wellington St electric line opened 27/12/1925. Note the sign on the left hand pole about travel to Malvern and St Kilda Beach, the workmen and that another tram has left heading outwards. On the right hand side is part of a sign advising people to catch cars to the Esplanade. Photo from the Collection of the Department of Infrastructure now with the Public Records Office - image number H102. Note: this photo is now out of copyright and was not an original VR photograph, but one copied from another source and collected as their Heritage series. See Image 3673i2 for a digital image of the card photograph at the PRO on 7/1/2019 that this photograph comes from. Further notes from Rod Atkins: Note the Electrical box at base of the pole on left hand side of the photo. No section insulators yet as power would have been stretched from Dandenong Road / Chapel Street right through to Fitzroy Street to run the first services. Great shot of the "H" car. Malvern bound is a another Californian combo car, but with original destination boxes and PPTT style "No" on the left side of the apron but cant make out the number.Has Department of Infrastructure copy right stamp on rear and number "H 102" in ink on rear and "2-3"trams, tramways, mmtb, st kilda junction, wellington st, trackwork, st kilda beach, tram 58

In 1905, Mr. Frank Jarvis and Mr. Tommy Garner formed Conway Stewart & Co. Limited at 13 Paternoster Row EC1, next to St Paul’s Cathedral in London. Today, this area is known as Paternoster Square having been redeveloped after its complete destruction during the Blitz of World War II. Although there is much debate regarding the origins of the Company’s name, it is believed that the name “Conway Stewart” derives from a popular vaudeville act of the day. Conway and Stewart were supposedly a comedy double act who appeared at Collins Music Hall in Islington. The two entrepreneur took a great risk in leaving their secured jobs to start a new enterprise reselling fountain pens made by other manufacturers. They concentrated their energies and invested in importing pens from the United States. After an arduous month of persistent selling of their stock, they reaped the rewards of a rather healthy turnover of more than £13 and 9 shillings. This was a great accomplishment considering that the rent for their business premises was only five shillings a week. Even though this turnover would be pleasing to many new ventures, the strength of De La Rue in the fountain pen market made it impossible for the company to continue selling no-named fountain pens. In the same year, De La Rue reportedly invested £50,000 in a promotion campaign for their new launch, the Onoto. However, Garner and Jarvis soon recognized there was an audience desiring good, reliable writing instruments that were also affordable. This is when Conway Stewart began to capture a market amongst the English. Jarvis and Garner developed a single aim, to produce elegant and beautiful, yet functional writing instruments – a principle that Conway Stewart holds true to this day.Red "Conway Stewart Ink" bottle with black metal lid and red round label. Square bottle with flat edges. One quarter filled with ink.Front: 20 fl. ozs./Conway/Stewart/ink (white letters on red background, label, upper area of bottle)ink, writing, bottle

Arthur Street, Eltham next to ANZ Bank The Hiroshima Day Banner was made by Jacky Talbot as part of the project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The artist was concerned about the remaining time scheduled for the project and spent several days "whipping" up the banner herself. For the artist this banner was to prove quite significant. The women hung it at the Community Notice Board on Hiroshima Day and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Although no new members joined the group from this activity, the artist felt that she was more fully accepted by the group afterwards. This banner has initiated a small group of women committed to peace. The artist has also continued to liaise and meet with the women as time permits. Future group plans include: making kimonos to wear when carrying the banner, participating in the Palm Sunday March, an observance of Hiroshima Day activity, which is yet to be decided, establishing contact with a sister-town in USA and USSR and supporting Eltham Council's stance as a Nuclear Free Zone. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report /​ by Jacky Talbot, Shire of Eltham, Feb. 1987, p46) Used in Shire of Eltham display at the Eltham Community Festival, 7 November 1987. Shire of Eltham Engineering Department Providing the resources to undertake • Survey, design, consultation • Road construction and maintenance • Bridge construction and maintenance • Street sweeping • Drain and pit cleaning • Traffic engineering installation and maintenance • Garbage collection • Tip management, land reclamation and beautification • Maintenance of community buildings • Provision of community and recreation facilitiesIllustrative of services provided by former Shire of ElthamColour photograph 20 x 29 cm mounted on green-painted chipboard 28 x 35.5 cm (string on back for hanging) Ref: 01842-0Title printed on label adhered to board below photograph (replaced June 2017)display panel, eltham festival, eltham peace banner, hiroshima day banner, infrastructure, shire of eltham, laurel eckersall, anne laurence, betty johnson, joan maclagan