Showing 662 items
matching yet not i
-
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, beechworth gorge, indigo shire, landscapes, mill, sluicing, gold mining, north-east victoria, spring creek, louis chevalier, cascades -
Kew Historical Society Inc
Plan, Melbourne & Metropolitan Board of Works : Contour Plan of Melbourne & Suburbs : Melbourne Sewage, 1894
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 -
Ballarat Tramway Museum
Photograph - Black and White photocopy, Travis Jeffrey, 1960
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 -
Power House Rowing Club
Journal article - ROWING CLUB, ROWING CLUB, 1958
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. -
Melbourne Legacy
Newspaper - Poem, The Army of the West by C.J. Dennis, 25 April 1929
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 -
Victorian Aboriginal Corporation for Languages
Book, Sue Wesson et al, Aboriginal flora and fauna names of Victoria : as extracted from early surveyors' reports, 2001
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 -
Ballarat Tramway Museum
Photograph - Digital image Set of 10, 1971
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 -
Bendigo Historical Society Inc.
Document - DRAINAGE PROBLEMS - VICTORIA QUARTZ INFLUX OF WATER
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, 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 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Badge - WWI Red Cross Buttons
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 -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Badge - Red Cross - Springvale, 1917
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 -
Flagstaff Hill Maritime Museum and Village
Functional object - Opera Glasses, 1920s
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 Beechworth Burke Museum
Animal specimen - Olive-Backed Oriole, Trustees of the Australian Museum, 1860-1880
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 -
Flagstaff Hill Maritime Museum and Village
Opera Glasses & case, Early 20th Century
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 -
Victorian Harness Racing Heritage Collection at Lord's Raceway Bendigo
Document - Record, Harness Horse, Avian Again
Stephen Spark compiled horses performance records starting in 1983 on his typewriter. Avian Again: Riverina Herald, Tuesday August 19, 1952 Mr Harry Holmfield's pacer Avian Again made a spectacular return to racing on Saturday night at Harold Park when he took one of the main races in ; his first appearance this season. Bookmakers were ready for his visit to Sydney for they did not bet better than 6/4 On. The Ech uca owned horse, driven by Gor don Rothacker, was never in danger and led almost through out to score comfortably by over one length. Sky Pilot, the N.Z. pacer, who has won his last three races at Harold Park, challenged at one stage but was easily beaten off. Mr Holmfield is very impress ed with trotting in Sydney where the attendances eclipse those at the galloping meetings in the day. Avian Again's race on Saturday night was worth ,£600—£450 to the winning own er. 'Next month there will be a race with six heats worth £700 each and £2500 for the final. It is likely that Avian Again in this race will strike his half-brother, the famous Avian Derby, who Has not been retired to the stud as expected. Next week Avian Again will race in the fastest class at Har old Park from the scratch mark. He has yet to appear at the. Melbourne Showgrounds and has been shrewdly placed. . Later in the season he will be taken to Perth where the Inter Dominion championships will, be held in February.Avian Again raced from 1951 (4yo) through to 1957 (10yo). Had a Winning Streak of 8 wins. Career: 31 wins 12 seconds 13 thirds 82 starts.Typed document in black and red ink.harness racing, australasian harness racing, horse career, performance records, bendigo harness racing club, bhrc, avian again, he holmfield, g rothacker, wc rothacker, gordon rothacker, bill rothacker, harry holmfield, gw rothacker -
Wodonga & District Historical Society Inc
Photograph - Clyde Cameron College, Wodonga, 1976 - 1977
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 -
Marysville & District Historical Society
Postcard (Item) - Colour tinted postcard, Murray Views, Murray Views No. 16. Main Street, Marysville, Vic, c1940s
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 -
Melbourne Tram Museum
Photograph - Black & White Photograph/s, Melbourne & Metropolitan Tramways Board (MMTB), 1926
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 -
Bendigo Historical Society Inc.
Document - THE BENDIGO CHORAL SOCIETY, 17 Sept 1918
The Bendigo Choral Society, Season 1918, Second Concert. Sixth Grand Concert, Masonic Hall, September 17th, at 8 p.m. Artists: Miss Dorothy Penfold, A.R.C.M., Miss Myrtle Knight, Mr J Danks, Mr Arthur E Sayer, Mr H Williams. Conductor: Mr W C Frazier, A.R.C.O., Pianist: Miss Muriel Hyett, L.A.B. Admission 1?- and 1d. Tax. Patron: His Worship the Mayor, Cr Ambrose Dunstan. Office Bearers: President-Mr H M Leggo. Vice Presidents-Mr M G Giudice & Cr J H Curnow. Sub-Conductor-Mr E A Miller. Treasurer & Librarian-Mr W H Dolphin. Assistant Librarian-Mr R J G Duguid. Assistant Secretary-Mr F A Wittscheibe. Committee-Office Bearers, with Mesdames Perry & Scott, Misses Colgan, Veale, Gall and Weeks, and Messrs. Duguid, Sleeman, W Brown, F Wittsheibe and F J Walter. Hon. Secretary-J Huspeth, 85 Wills Street, Bendigo. Programme: God Save the King, Come if you dare, Scherzo Capriccio, La Carita, To the Forest, Villanelle,A Spell is on the Woods and Meadows, Scotland Yet, A Love Song, We Wandered, The Brook, Wanderer's Night Song, Eleanore, Young Lochinvar.Bolton Bros. Printers, Bendigoprogram, music, the bendigo choral society, the bendigo choral society, season 1918, second concert. sixth grand concert, masonic hall, september 17th, at 8 p.m. artists: miss dorothy penfold, a.r.c.m., miss myrtle knight, mr j danks, mr arthur e sayer, mr h williams. conductor: mr w c frazier, a.r.c.o., pianist: miss muriel hyett, l.a.b. admission 1?- and 1d. tax. patron: his worship the mayor, cr ambrose dunstan. office bearers: president-mr h m leggo. vice presidents-mr m g giudice & cr j h curnow. sub-conductor-mr e a miller. treasurer & librarian-mr w h dolphin. assistant librarian-mr r j g duguid. assistant secretary-mr f a wittscheibe. committee-office bearers, with mesdames perry & scott, misses colgan, veale, gall and weeks, and messrs. duguid, sleeman, w brown, f wittsheibe and f j walter. hon. secretary-j huspeth, 85 wills street, bendigo. programme: god save the king, come if you dare, scherzo capriccio, la carita, to the forest, villanelle, a spell is on the woods and meadows, scotland yet, a love song, we wandered, the brook, wanderer's night song, eleanore, young lochinvar. -
Bendigo Historical Society Inc.
Document - NORTH JOHNSONS MINE - HAPPENINGS AT THE NORTH JOHNSONS MINE AND NORTH GARDEN
Handwritten page of happenings at the North Johnsons and on the back North Garden. Written on page: North Johnsons, Copy our from M/M Reports. Cage stuck 26/10/1900, Scarcity of water 6/1/1899 9/11/1900, Boiler at Rose taken down etc 28/10/1899, Old workings giving trouble 14/10/1898, 8/7/1898 No ladderway, slack ropes fouled - cage etc at 485 ft., 7/6/1901 Water 3,000 gals a day, 2360 feet 2/3/1900 Miner burnt Candle (Gas?). On the back: North Garden, G. Armstrong ?, E'House open, Machinery, 16/6/1881 Old W. Wigley as watchman. 3/11/1881 Engine man Toy let 5 men into the well through carelessness. (Discharged.) Got another man - Grey. He could not manage it. Now have Syme ? Cannot say much about him yet. Half Yearly Report. 26/1/1882. New Plant. All work suspended to put in new machinery. Pair of 20'' cyl. For winding. 12 inch Ford Compressor, New Poppet Legs & Brace & Quartz shoots. Av. Of 13 1/2 dwts from new reef at 1320 '.document, gold, north johnsons mine, north johnsons mine, north garden, happenings at the north johnsons mine and north garden, m/m reports, g armstrong, w wigley, engine man toy, grey, syme?, ford compressor -
Orbost & District Historical Society
May 1900
This is a photograph of the original Orbost / Snowy River Bridge , a suspension bridge which opened in 1893. It has been taken when the Snowy River was in flood. It is similar to other photographs held in The State Library, Victoria. The Snowy River Mail and Tambo and Croajingolong Gazette Sat 12 Aug 1893 records the opening of this bridge as "the most important public event that has yet been commemorated in Eastern ......The Messrs McLeod, with whom the first settlement of this district is generally associated, took up their residence on the eastern bank of the Snowy River about the year 1841 or 42. The late Mr W. Roadknight and Mr T. T. Stirling took possession of the territory on the western side of the Snowy about 35 years ago. During the occupation of the country by cattle owners, very little progress was made in the way of roads and bridges, and except to the hardy and lexperienced bushman, it might have been generally regarded as inaccessible. About the year 1877, however, the late Mr James Robertson eldest son of Mr James Robertson, of Lochend farm, selected land now occupied by his father, about four miles from Orbost on the west bank of the river, Mr John Cameron visited the. district shortly after a .tour of inspection and returned later with his brothers, James and Alick Gameron, but found that during their absence Mr Ernest Watt had found his way on the scene and pegged out a selection, thus anticipating the advent of the Camerons by about 12 hours. We understand that a Mr Kidd, who selected the property now occupied by Mr W. J. Ross, at Pumpkin Point, was one of the earliest batch of settlors.........."This is a pictorial record of an early bridge across the Snowy River at Orbost.A black / white photograph of a suspension bridge with flood waters below the bridge.orbost-bridge suspension-bridge snowy-river -
Eltham District Historical Society Inc
Photograph, Ron Grant, The Eltham Peace Group hanging the Hiroshima Day Banner on the Community Notice Board, Arthur Street, Eltham; Community Arts 1986 'As We Are' Banner Project Group, Hiroshima Day, 6 August 1986
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 -
Glenelg Shire Council Cultural Collection
Functional object - Bottle, n.d
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 -
Merri-bek City Council
Archival pigment print, Hoda Afshar, Behrouz Boochani – Manus Island No.2, 2018
Hoda Afshar's 2018 body of work, "Remain," offers a forthright and unapologetic political commentary on Australia's border protection policy, shedding light on its impact on human rights. This collection comprises a film and a series of photographic portraits that chronicle the stories of stateless men who chose to stay on Manus Island, Papua New Guinea, even after the closure of the immigration detention centre in October 2017. In the accompanying film, the experiences of these men are conveyed through episodic fragments, narrated with a mix of lyrical and brutal voiceovers. Some express themselves through poetry, others through song, while some recall the riots and suicides. Set against the backdrop of a picturesque landscape featuring lush foliage and crystal-clear water—a stark contrast to the harsh realities described—the emotional impact of the work is intensified. It creates a simultaneous sense of beauty and horror. The photographic portraits of the same individuals are equally compelling. Positioned prominently against a dark backdrop, these subjects assert their presence, emphasizing their right to be seen. The deliberate simplicity of these portraits serves as a powerful political statement, countering the invisibility imposed by the act of detention. Afshar metaphorically acknowledges the struggles faced by these men, depicting them contending with the elements—fire, water, and earth—yet never questioning their inherent humanity. Here we see Behrouz Boochani, the Kurdish Iranian writer whose memoir ‘No Friend but the Mountains: Writing from the Manus Prison’ won the Victorian Premier’s Prize for Literature and the Prize for Non-Fiction in 2019. Boochani was held in detention on Manus Island from 2013 until the centre’s closure in 2017 and was forced to remain on the island in a stateless condition. -
Eltham District Historical Society Inc
Photograph, "As we are" Community Banner Project, c.Oct. 1986
River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. 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. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency (1 of 2) Mount - Kodak KodachromeProcess Date OCT 86Mbanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner -
Eltham District Historical Society Inc
Photograph, "As we are" Community Banner Project, c.Oct. 1986
River of Life and Hiroshima Day Banners The River of Life and Hiroshima Day banners were specific peace projects initiated by the CAO and taken up by Eltham Living & Learning Centre and funded by the Victorian Peace Secretariat for IYP. The project was transferred from the Centre to Tracey as part of her artist in the community portfolio. Tracey, as CAO, employed Jacky Talbot, who was not familiar with Eltham but was an experienced community arts worker personally interested in textiles and peace. The project was publicised and a peace banner group formed. Only two of the women knew each other. They had come together from a need to do something for peace, rather than to learn about textiles. Jacky Talbot shared Elizabeth Savage's approach to the banner. She was not 'a peace-expert' and did not want to be seen as such by the group. Like Elizabeth Savage she wanted to encourage an expression of peace as it was perceived by the group. Jacky showed slides of peace images and peace banners. Textile workshops were interspersed with discussions about peace, one of which was led by a local People for Nuclear Disarmament member. The idea for the banner occurred during one of these discussions. One of the women began to talk about feeling like a drop of water lost in the river of life - yet rivers were made of countless droplets which, when joined together, became the powerful force of the river. This group quickly established a commitment, not only to peace, but to the group itself, and this has continued beyond the project. The women, as is the case with many of the groups in the Banner Project, were really surprised at their increasing textile skills and self-confidence. But they were more concerned with their commitment to peace. Each is continuing to find ways in which she can continue to work for peace, and activities are undertaken on a group basis as well. The decision to participate in the group based activities is up to each woman as the time arises. The banner and some members of the group have now participated in the Peace Boogie at the World Trade Centre, the Peace Arts Conference organised by Art Action for Peace, Melbourne City Council's Peace Vigil weekend, Women's Precious Things for Peace Day exhibition and the banner was ' hung at the Footscray Community Arts Centre when the other textile peace mural Jacky co-ordinated was opened. One woman wrote a poem about the project and peace; others have sent telegrams and letters to politicians about peace. A great deal of information about peace and other activities, articles, books, media programs were circulated amongst the group. 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. (Source: The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, pp43-46)35mm colour positive transparency Mount - Black and Whitebanner project, community banner project, tracey naughton, eltham living and learning centre, eltham peace banner, jacky talbot, river of life banner -
Kew Historical Society Inc
Plan, Borough of Kew Detail Plan No.1577, 1904
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. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)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.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). MMBW Plan No.1577 includes some of the most significant houses in Kew: Herbert Henty’s ‘Roxeth’ (now part of Trinity Grammar), ‘Butleigh Wooton’, ‘Bokara’ and ‘Harrow’. It also includes the streets that have since changed their names. That part of College Parade linked to Glenferrie Road is now named College Place, College Parade now extends further north, and Charles Street did not yet reach Barkers Road. Roxeth is one of a number of Henty houses in Kew. Herbert Henty made his home here and was elected a member of Kew Municipal Council in 1864 and mayor in 1868-69. Walter Henry Serle, of Harrow served in the First World War. He was awarded the Military Medal ‘’For conspicuous bravery and devotion to duty. On 29th September near BELLICOURT he showed the greatest bravery and determination when his platoon was attacked by enemy bombing parties. It was due largely to his personal efforts that all the attacks were repulsed. Until wounded, his utter disregard of personal safety and boldness in dealing with the attacks were the means of saving the situation and were an inspiring example to his men.’melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1577, cartography -
Ballarat Tramway Museum
Photograph - Digital image Set of 10, Stuart Lodington, 1971
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. 32 entering the depot from Wendouree Parade, with the Lake in the background. Shows the depot fire alarm on an adjacent pole. .2 - No. 26 at Sebastopol, before turning the pole. Has a bus stop sign on a pole already. .3 - No. 27 and 26? crossing at the Bell St loop in Skipton St. No. 27 has a Twin Lakes sign. .4 - No. 32 outbound to the Gardens in Hamilton Ave about to enter Wendouree Parade with Loreto convent and Olympic monument the background. .5 - No. 26, Albert St Sebastopol, approaching the Sebastopol terminus, with Sebastopol Food Stores building on the left of the photo. .6 - No. 12 leaving the Parker St. Loop, Sturt St West after crossing a tram. No. 12 has destination of Victoria St. .7 - No. 12 inward bound in Lydiard St North with Fine Art Gallery in the background, 3BA. No. 12 has destination of Sebastopol and has a Twin Lakes sign. .8 - No. 12 inward bound, Sturt St West, No. 12 has destination of Victoria St and has a Twin Lakes sign. .9 - No. 26 at Sebastopol terminus, outside the Royal Mail Hotel, has a bus stop sign on a pole. Tram pole yet to be turned, but destination adjusted to Lydiard St. North. .10 - No. 12 at Sebastopol terminus, outside the Royal Mail Hotel. No. 12 has destination of Lydiard St Nth and has a Twin Lakes sign.trams, tramways, ballarat, sturt st west, sebastopol, skipton st, wendouree parade, hamilton ave, depot, depot junction, parker st loop, bell st, lydiard st nth, tram 32, tram 26, tram 27, tram 12 -
Bendigo Historical Society Inc.
Document - MCCOLL, RANKIN AND STANISTREET COLLECTION: ANGOVE AND CARRS LEASE, DIAMOND HILL, 1935
McColl Rankin & Stanistreet, Angove & Carrs Lease, Diamond Hill. a/ Manila folio Markings: Angove & Carrs Lease Diamond Hill. Freed?aus Extended. b/ Plan Area Applied For On Lease No. 10103 Ben. By A A Macintosh. Mining District of Bendigo Parish of Mandurang County of Bendigo. Inscriptions: G Birch advises 16/5/35. Survey made by Assistant he has yet to receive. 10710 W J Angove - Spring Gully PO. Dated August 12th 1933 signed: Garnet G Birch J Victor Buley. c/ Agreement of lease for 1 month with the option of 9 months, followed by the option of purchase between Summerhill Anticlines NL of Adelaide and Angove & Carr at German Gully (Mandurang). Markings: 25/3/13 note by Summerhill Anticline NL. Requests information as to whether or not the Syndicate (E Mann, W Angove & H Irvine, H. Mc……….) desire to take up the options of lease or not. d/ Notice to Shareholders of a meeting in Collins Street Melbourne. 6 March, 1935 to consider proposals of the future of the company. J G Stanfield & Stewart, Manager. e/ Neangar Gold Mining Company NL 6 Month Report 27/2/1935 Business, Director's Report & Financial Report. f/ Report by A J J Moore BCE Mining Engineer, Ramrod Lease, Golden Fleece Mine near Spring Gully Reservoir the most Southern mine being Worked in Bendigo. Lease in on the Carshalton line. Report details the progress of the workings at the mine.organization, business, gold mine, mccoll rankin & stanistreet, angove & carrs lease, diamond hill a a macintosh parish of mandurang county of bendigo w j angove august 12th 1933 summerhill anticlines 6 month report 27/2/1935 golden fleece mine near spring gully reservoir -
The Beechworth Burke Museum
Animal specimen - Common Starling, Trustees of the Australian Museum, 1860-1880
The Common Starling is an introduced species to Australia (as well as widely throughout the world), and is considered a pest due to its attacks on fruits and seedlings, as well as competing with the native bird population. It was introduced to Victoria in 1861, and has since become abundant, whose sheer numbers cause many problems. These birds are a social species, which can mass in very large flocks (murmations), and show spectacular synchronised aerobatic displays. This species has a distinctive plumage, with glossy black bodies, white spots on their backs and wings, and a purple and green tinge to their underparts and wings. This species, when moving across the ground, has a distinctive 'walk' or 'run' rather than the traditional hopping of many other bird species. This bird is a noisy species, often becoming a nuisance to people. Starlings prefer to nest in holes in trees or buildings, yet there are at least two recorded cases of this species nesting on the backs of living sheep. This specimen is a good and intact example of this species. As the white spots are large and visible, as well as the purple and green shine, this specimen likely died close to Autumn and the breeding season, when these birds get their new bright plumage. 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 adult Common Starling has glossy-black plumage with a metallic sheen, and white speckles throughout. The plumage has a purple and green shine. The irises are white. Its beak is black and pointed. This specimen appears to be male, with less white spots on its underparts. This specimen stands upon a wooden platform and has an identification tag tied around its leg, and a metal tag tied around its foot.Swing-tag: 139a. / Starling / Catalogue Page, 59 / Metal-tag: 1250 (?)taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, sheep, common starling, starling, murmations, pest, australian bird -
Flagstaff Hill Maritime Museum and Village
Domestic object - Teaspoon, Viners Limited, Ca. 1920s
This teaspoon is an example of electroplated cutlery that was affordable alternative to more expensive silver cutlery, popular in the late 19th and early 20th century. The teaspoon has been stamped with text on the back of its handle that describes the nickel silver alloy that it was made of, and that it was made in Sheffield, but does not mention the maker's name. The plain design and light weight of this teaspoon could mean that it was used as a common, everyday utensil. The text on the back includes the words 'wears wite', assuring the buyer that even if the silverplate wears or flakes off the surface, the metal beneath it will show the white colour typical of nickel silver, or German silver. This alloy of copper, nickel and zinc is often used as a base for electroplating and named Electro Plated Nickel Silver (EPNS). An exact match of this teaspoon's inscription "WEARS-WITE STAINLESS NICKEL SILVER SHEFFIELD" has been found on cutlery made by Viners Ltd., and has not yet been found on flatware made by other manufacturers. Other cutlers have used very similar text but have used 'rustless' instead of 'stainless' and 'white throughout' instead of 'wears-wite'. Viners Limited was established in Sheffield in 1901 by Adolphe Viner and his sons. By 1908 they had a manufacturing plant in Bath Street, Sheffield, and went on to be the leading cutlers in the United Kingdom. They expanded to Hong Kong and Japan, and from 1925 they used the trademarks 'Alpha', 'Resilco' and 'Wear-wite stainless silver nickel'. They were appointed as Royal Cutlers to King George V in 1930, at which time their trademark was still 'Wear-wite' followed by the words 'Rustless Nickle Silver'. They continued to expand and prosper over the years. The Viners name is still being used by the current owners, the Rayware Group. In 2018 the Viners name celebrated 110 years as specialists in flatware. This teaspoon is historically significant, dating from the mid-1920s and made by a leading Sheffield silversmiths, Viners Limited, established in 1901 and continuing on with cutlery still branded with the Viner’s name today. Viners who were appointed as Royal Cutlers in 1930 by King George V. The teaspoon is an example of silver plated cutlery in common everyday use in the earlier half of the 20th century. This Viners teaspoon is unique in our collection as an item produced by Viners Ltd. and bearing the stamp ‘Wear-wite”.Teaspoon, small, thin, nickel silver plated. Narrow plain handle flares out to a wide, rounded end. Maker’s marks are stamped on the reverse. Made in Sheffield, England.“WEARS-WITE STAINLESS / NICKEL SILVER SHEFFIELD”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, electroplate, electro plate, nickel silver, nickel alloy, alloy composition, copper nickel zinc, german silver, epns, silversmiths, victorian era, 19th century, flatware, tableware, cutlery, cutler, dining utensils, eating utensils, silver-white metal, wears-wite stainless nickel silver sheffield, teaspoon, sheffield, wear-wite, silver nickel, stainless, rustless