The Kelly family lived at 'Norwood', 103 Wills St. Bendigo. Whole family buried together in Bendigo Cemetery. Michael Peter Kelly bd. 23.9.1929 MON H4. Margaret Jane Kelly wife of Michael Kelly died 25.8.1912. bd. 28.8.1912. Daughter Rita bd. 21.1.1898 Son Roy (Robert Dennis) Kelly died 22.9.1943 bd. 23.9.1943. Daughter Doris May Kelly bd. 19.1.1967 Daughter Madge Annie Kelly bd. 6.6.1963. No records found of a marriage for Roy, Doris or Madge. Michael P. Kelly was born in Galway, Ireland and died in 1929 aged 76. He had been in Victoria for 59 years. For 50 years he had been closely associated with Bendigo mining companies, and was a leading investor. He joined the Bendigo Stock Exchange in 1880, had been chairman of the exchange multiple times. Director of the Farmers & Citizens' Trustee Co. and of the Sandhurst Building Society. Refs: Obituary The Argus 24.9.1943. The Argus 23.9.1943 (obit. of Roy Kelly). National Archives WW1 enlistment records Robert Dennis Kelly Reg. No. 10874. TROVE Bendigonian 29.7.1915. Bendigo Advertiser 27 August 1912. Bendigo Advertiser 21.1.1898 and 22.5.1900. Bendigo Cemetery records.Photograph - black and white. Portrait of a man sitting on a chair, long bushy beard, receding hairline, wearing a watch chain, looks like a rectangle locket and a medallion both hanging from the chain. Wearing a ring on his left little finger. Written on the back of the photo, 'Michael Kelly, 103 Wills Street, Bendigo. Sharebroker'. See the book (in BHS Library) - Fighting for empire : an Irish doctor's adventures through imperial campaigns and two World Wars : the life and times of Thomas Bernard Kelly (1870-1949) - for family information and the life of Michael Kelly's younger brother. See Research field for further information on Michael Kelly.John Lay, Eaglehawkbusiness, stockbroker, kelly & allsop, photograph. michael kelly. sharebrokers - bendigo. stockbrokers - bendigo. sandhurst building society. farmers and citizens' trustee company. mining - bendigo. bendigo stock exchange.

St Peter's Church was established in 1861 in the school house. In 1864 the question of building a church was seriously discussed. A foundation stone for the church was laid on 16 November 1864 by Bendan S. Hassell. The architect was Charles Davenport Cuthbert; the trustees were Somerville Learmonth, W.P. Whitcombe, Robert Wynne and J.B. McQuie. The church building committee consisted of Horace walker, J.S. Carver, John M. Fisher, Robert Williams, Thomas Gibson, John E. Hodgson and W. Lindisay Richardson. The foundation stone of the Soldier's Chapel was laid on 06 April 1917. The beautiful stained glass in the chapel was donated by Mrs W. Tunbridge and H.C. Curwen-Walker, in memory of their sons who were killed during World War One. In 1929 a new three manual organ by London's Hill, Norman and Beard was installed. It was the first in Ballarat with electro-pneumatic action.White soft covered booklet outlining the first 100 years of St Peter's Anglican Church, Ballarat. The book includes information on each of the ministers until 1961, a programme of the Centenary Celebrations, and black and white photographs of the exterior and interior of the church. Images include the Pittard Memorial Windows, the Crocker Memorial Windows and baptistry, and H.W.H. Adeney.st peter's anglican church ballarat, churches, religion, charles d. cuthbert, stained glass, w. tunbridge, h.c. curwen-walker

This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian

3134.2 has been taken inside the Mechanics Institute hall. 3134.3 was taken in Munro Street. Cr J. Perry was the president of the organising committee for the Back To Orbost celebrations in March 1937. M.W. Cowell was the Secretary.These photographs are pictorial records of a significant community event in Orbost's history.Three black / white photographs and an envelope. 3134.1 is of a group standing in front of a banner - WELCOME HOME - and a welcome arch - 3-3-1937. A group of men, women and children are standing or sitting in front of the arch. 3134.2 is of a large group of men and women seated and standing dressed in formal outfits in front a stage inside a hall. 3134.3 is of two men in a jinker pulled by one horse. The person holding the reins appears to be wearing a false beard and wig. 3143.4 is an unused white envelope. On the left-hand side in brown print circle is a boomerang with "Back To Orbost 1937", two corn cobs and pumpkins. Underneath is "27/2/37 to 6/3/37" with the names of the committee.3134.1 - on front - handwritten with an arrow pointing to "Grndma Cameron" bottom front - "Some Former Residents at the Welcome Arch Orbost 3.3.37" 3134.2 - on front - " a memento of the Ball at Orbost. Back to Celebrations 4.3.37"back-to-orbost-1937 celebrations community-events

Black and white photograph - Grade 3, 1980"Attached to photograph" Back Row- L to R: Frances Barbato, ?, Deanne Dinic, Rachael (?), Melissa Beard. 2nd Row- L to R: ?, Steven Gillen, Dean Mavroudis, Chris McEwan, Peter Rigg, Sean Cawley, Steven Harris. 3rd Row- L to R: Cory Price, Cameron Browne, Dean Munzie, Scott (?), Andrew (?), Mark McDougall, Anthony Day, Carl (?). Front Row- L to R: Cindy Belingeri, ?, Tina Gould, Nichole Banks, ?, Joanne Tabone, Natasha Haggar, ?. Teacher: Mr Foreman

Wallace v Burke Jere. Costs. 9 - 1889 - Watson v Benjeroop Trust. Letter dated 26 Aug 1889. 10 - 1910 - Note written by Smith Clara, Durham Ox, dated 134 Apr 1910 re payment. 11 - 1910 - Twigg E A W, Grazier, Mitiamo re payment. Letter dated 13 Apr 1910.cottage, miners, connelly, tatchell & dunlop, read j, hannaford miss, randall a d, stephens a w, corke & dunlop, roberts john, beard, darrigan, lewis george, roberts, ors, hatch. wallis a e, wallace, burke jere, watson, benjeroop trust, smith clara, twigg e a w

Hair and beard clipping was frequently carried out at home prior to WW11 and often much later in rural areas. Manual hair clippers were readily available for purchase. The Alcoso company started as steel manufacturers by Alexander Coppel in 1821. Alcoso is an acronym for Alexander Coppel Solingen. They were very successful and opened a second manufacturing facility sometime in the 1850s. They manufactured pipes, rolled steel, wire, tableware, daggers, swords, knives and razors. They started manufacturing razors in the 1850s. The company is most famous for their swords. The Coppel family that Alexander donated millions of marks to charity including building an orphanage, a school for the disadvantaged, and a recreation centre. They headed various social rights groups. They were leading citizens of Solingen. The family was Jewish and the company was Aryanized in 1936. Alexander Coppel and his family were sent to a concentration camp in 1941 along with the remaining Solingen Jews. He died there of starvation in 1942 at the age of 77.This kind of hair clippers were a common household item in the early 20th century. They are representative of an important Jewish company prior to WW2.2 sets of hairclippers made from steel alloy. The arms of the clippers are hinged and can be adjusted with a wing screw. The arms are squeezed together and released. like scissors to operate,On box lid: "Haarschneide-Maschine/ Hairclipper/ "Alcoso"/ Solingen / Tondeuse/ Maquina para cortar el pelo" Translation hair cutting machinehair clippers, alcoso company, alexander coppe, personal items

Same as photo 260 Primitive Methodist Christian Endeavour Group July 1901. Photo taken in Stawell by Stawell Photographic Company. Mrs R. Gray would be Mary Gray. Back Row: L-R J. Anyon W.A.Perry (vice-president) W. Hambly, G. Smith, Miss V. Willoughby Second Row: L-R Miss L. Crawford, (Secretary) Miss M Schnieder, Miss Matthews Miss M. Hambly, Miss B. Fletcher, Mis B. Yates, Miss E. Bunting Miss B. Dickie, Miss B. Hambly Miss W. Matthews, Mr Gillams. Third row: L-R Miss. L. Corrie, Mrs Corrie, Mrs Jenkinson, Mrs McDonald Mrs McRae, Rev. L.T. Copeland (President) Mrs Russelll, Miss L. Goldsworthy Miss L. Beard Miss Bell Sumner Miss S.GillamsBlack and white photograph of a group of males and females, Taken in the studio of Stawell Photographic Company, 1901 Primitive Methodist Christian Endeavour group.July 1901 Primitive Methodist Christian Endeavour Stawell Photographic Co. Close Railway Station C. Hewitt Manager Mrs R. Gray Wakeham St Stawellreligion

B+w Photo on board. School Photo. 46 students + 1 teacher.( 18 boys + 28 girls) standing in 5 rows in front of a brick wall, with 3 multiple-paned sash windows. Boys are dressed in collars + sashes, girls dressed in below-knee dresses with high necks + long sleeves + sashes. They have black lisle stockings and ankle length boots. The teacher is wearing a 3 piece suit with a fob pocket watch + Butterfly collar. He has a goatee beard + moustache. Girls have long hair, tied back from faces. Inscription: Miss L Hall/3,a Black 4/- (Hand Written in Pencil). Faint traces of writing in centre of mounting board(Miss Mall?)organization, education, eaglehawk state school

Black and white photograph - Grade 5A, 1972."Attached to photograph" Back Row- L to R: Jef James, ?, ?, ?, Ted Beard, Gary Oxley, Craig Lucas, Lyal Tan, Cameron Nichol. 2nd Row- L to R: ?, ?, Andrew Taylor, John O'Sullivan, Rodney Cuthbert, Angelo Espizito, Ross Bird, Wayne Hodgson, ?. 3rd Row- L to R: Vicki Jacobs, ?, ?, Dianne Axford, Ingrid Birgna, ?, ?, Elizabeth Cuzens, ?. Front Row- L to R: Helen Mesur, ?, Teresa Taggart, Julie Griffith, Cathy Riggerans, Janet Taylor, Natalie Beresnik, Julie Griffiths, Lori Lancaster. Teacher:

The Wesleyan Church, Denham Street in Lower Hawthorn, as the area was then called, was opened on 2 May 1886. The building was designed by Geelong architect William Henry Cleverdon and was built of brick in the Gothic style. Its dimensions were 55 x 33 ft and the façade incorporated a rose window and spire 50 ft high. A wooden vestry was placed to the rear. The building and the organ were seriously damaged by fire on 1 April 1970, started by a painter's blowtorch. The church was not rebuilt. The organ was built in 1900 by E. Cornwall Cook, of Barrington Place, Burwood Road, Hawthorn. It was opened on 8 August 1901 by George Peake. The Swell strings may have been added (or substituted for earlier material) by Frederick Taylor, whose workshop was nearby in Burwood Road. At some stage the colourfully decorated façade pipes were repainted in a gold finish. The organ was badly damaged in the 1970 fire and the metal pipes were sent to Hill, Norman & Beard who melted them down for scrap.B & W photograph of the interior of the Denham St. Methodist Church, Hawthorn. Mounted on card.denham street methodist church, organ, hall, e. cornwall cook, george peake, norman & bead, frederick taylor

This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61

Black and white photo of 1937-38 Victorian Sub-District Cricket Association Premiers. Port Melbourne Cricket Club. 26 men shown, 12 in cricket clothing, named as follows: Back Row : B. ROWAN, J. TATE, J. HARVEY (Assistant Secretary), T. BOWMAN, H. CROMPTON, G. GLOVER, S. FINDLAY, W. WILSON Centre Row : F. STEVENSON (Hon. Treasurer), A. DOWNER, W. PAYNE, B. CULLEN, Cr. H. C. SOUTHWARD (President), J. WOODRUFF, E. LEE, W. J. PRICE (Hon. Secretary), A. NUGENT Front Row ; G. MOORE, B. DUNN, T. MARSHALL, T. LAHIFF (Captain), G. V. BEARD (Vice-Captain), W. JONES, A. YOUNG Seated : H. GAYsport - cricket, port melbourne cricket club, b rowan, j tate, j harvey, t bowman, h crompton, g glover, s findlay, w wilson, f stevenson, a downer, w payne, b cullen, henry carr southward, e lee, w j price, a nugent, g moore, b dunn, t marshall, tommy lahiff, g v beard, w jones, a young, h gay, jack woodruff

Coloured slide transparency. Image is of a male and a female standing together dressed in costume. She is wearing black pants and a blue and white striped top with a blue belt and sword around her waist and pink neckscarf. Her hat is a black tricorne with a white skull and cross bones insignia and she has a hook on her left hand. She is wearing a black eye patch and black beard and a pink parrot is on her left shoulder. He is dressed in dark pants, longsleeved top and short sleeved jacket. He has a beret with a feather on his head, a glass in his right hand and a stick in his left hand. On the lower edge of the white border the words Fancy Dress Party Mr and Mrs Robin? Physics led have been handwritten.Kodachrome Transparencyslide, bendigo, bendigo institute of technology

BHS CollectionBendigo Advertiser ''The way we were'' from Monday, March 3, 2003. Elegant: an Anglican ball debutante set, September 14, 1948. Back row: Brian Ackland, Peter Houston, Bob Burnett, Keith Rollinson, John Moran, Max Jackman, Max McCaig, David Beattie, Bob Kerr, Leith Mitchell, Reginald Runnells, Ronald Watt. Centre row: Jim Murphy, Ian Hamilton, Wilma Kilcullen, Natalia Huggins, Joan Bennett, Valarie Potter, Fay Norris, ''self'', Jean Dewar, Pat Bruechart, Peter Ladd, Arthur Wright. Front row: Pam Wright, Una Manning, Gaymor Beard, Margaret Tuff, Chaperon Mrs O.G. Lowe, Joy Thomas, Norma Ball, Betty Marshall, Norma Bennett. The clip is in a folder.newspaper, bendigo advertiser, the way we were

Saunders General Store was opened in 1900, overlapping part of the Mensland and Coultons stores. It was called "The ―Melbourne Store" which referred to it being a branch of their Melbourne store.The shop was burnt down in the early 1930‘s. Arthur Scott Saunders was born in 1864 and died 3-12-1913 (49) in Orbost. He was the son of Thomas Frederick Saunders and Lucy Beard Scott. He was a Storekeeper at Orbost, a member of the early Show Committees, a Rechabite in 1893, and was a member of the Board of Guardians of the Church of England from 1894 to 1913 where he served as secretary and treasurer of the Board. He was married to Agnes Louisa Stuart Morris. She sold the business in 1919 to Mr J. H. V. Dale and left Orbost with her two daughters for East Malvern in April 1927. ( more info. on the Saunders family in In Times Gone By by Deborah Hall; Orbost & District Historical Society Newsletter by John Phillips) Robert Pullar Cameron was a Shire Councillor for many years. He married Penuel Hossack and had a family of James, Flora, Penuel and Alex. This item is an example of a hand-written account from an Orbost business of the early 20th century. It is a useful research tool.A white paper account with red lines, hand-written black print. There is a yellow duty stamp and a green receipt from A.S. Saunders, Drapers, Grocer and Ironmonger, to R.P. Cameron.account saunders-family cameron-r.p. book-keeping

This is a photograph of the Saunders Family at Orbost 1888-89. It is Arthur and Agnes Saunders with their children, Beatrice, Cyril, Hilda and Vera. Arthur Scott Saunders was born 1864 in Orbost and died 3.12.1913 in Orbost where he is buried. He was the son of Son of Thomas Frederick Saunders and Lucy Beard Scott. He was a storekeeper at Orbost, a member of the early Show Committees, a Rechabite in 1893, and was a member of the Board of Guardians of the Church of England from 1894 to 1913 where he served as secretary and treasurer of the Board. His wife was Agnes Louisa Stuart Morriss who was born in 1862 and died 26-11-1938 at East Malvern and is buried in . Orbost cemetery. She sold the business in 1919 to Mr J. H, V. Dale. She left Orbost with her two daughters for East Malvern in April 1927. Saunders General Store was opened in 1900, overlapping part of the present Mensland and Coultons. The ―Melbourne Store‖ refers to it being a branch of their Melbourne store. The shop was burnt down in the early 1930‘s. ( info. from Saunders Family Newsletter by John Phillips)This is a pictorial record of a prominent early Orbost family and is a useful research item.A black / white photograph of a family group with the parents seated and their children standing around them. In the background is a wooden fence. It is on a beige coloured buff card.on front - "Saunders family at Orbost" on back - " Saunders family at orbost, 1888 - 1889"saunders-orbost

Black and white photograph (copy on poly paper) of John Douse Langley, Bishop of Bendigo 1907-1920. Print: image only of upper torso of white-haired, bare-headed man, 3/4 profile, wispy curled sideburns, very light wispy beard, dog collar, soft velvet?, high buttoned coat (top button fastened), cummerbund? Under coat. Inscriptions on back: 'Rt. Rev. John Douse Langley, 2nd Bishop of Bendigo, 1907-1920. (Brother of the late Bishop; H.A. Langley). This in blue ballpoint ink Inclusion in envelope: 'The second Anglican Bishop of Bendigo, the Right Reverend John Douse Langley.. He served from 1907-1920. John Langley was the brother of the first Bishop, Henry Archdall Langley. Bendigo Historical Society Inc. This insert is machine printed.Bendigo Advertiserperson, individual, portrait male

Four page agenda for the next Council Meeting, dated 7th March, 1952. Listed is business and correspondence. Correspondence from S E Beard, A H Pappos, E J Golding, Bendigo Tennis Association, Secretary Home and Family Week, Hon L W Galvin MLA, Country Roads Board, Bendigo District Cricket Association, YWCA Hockey Association, F Ebsary, RACV, Mitchell Popular Girl Committee, Bendigo Free Kindergarten, Dept of Health, Bendigo Football League, Les N Jennings, Education Dept, Secretary for Lands, Music Advancement Society of Bendigo, Cr H McF Cameron, Bendigo Preserving Company, Mrs A P Lyon, Golden City Motors, Mrs E M Taylor, Chamber of Commerce, K E Fischer, Wilson Hall Appeal Committee,business, auctioneers, j h curnow & son pty ltd, ian dyett collection - agenda of council meeting, s e beard, a h pappos, e j golding, bendigo tennis association, hon l w galvin mla, country roads board, bendigo district cricket association, f ebsary, racv, bendigo free kindergarten, dept of health, bendigo football league, les n jennings, education dept, secretary for lands, music advancement society of bendigo, cr h mcf cameron, loddon regional committee, shire of kara kara, bendigo preserving company, mrs a p lyon, golden city motors, mrs e m taylor, chamber of commerce, k e fischer, wilson hall appeal committee, university of melbourne

Black and white photograph - Grade 6, 1983."Attached to photograph" Back Row- L to R: Steven Harris, Sofita Tanalii, Mary Ellis, Deanna Dinic, Robert Neave, Chris McEwan, Natania (?), Michelle (?), Mathew Rooks, Dean Mavroudis. 2nd Row- L to R: Mark McDougall, Des Rowley, Melissa Beard, Kelly Wynne, Christine (?), Cindy Pitman, Talitha Crawford, Nicole Yendle, Mark Ulrich, Anthony Day. Front Row- L to R: Bridget Watkins, Tina Gould, Penny Billingsley, Frances (?), Kylie Beath, Narelle Whiteley, Frances Berlingeri, Sharyn Paspa, Pauline Eldridge, Pauline Kane. Teacher: Mrs M.Irvine

Black and white photograph - Grade 5A, 1982"Attached to photograph" Back Row- L to R: Talitha Crawford, Rachel Lindsay, Diane Dinic, Natalie Jeffrey, Michelle Willoughby, Nichole Banks, Mary Ellis, Kylie Beath. 2nd Row- L to R: Pauline Kane, Christopher Barnes, Mark Barker, Dean Mavroudis, Peter Rigg, Mathew Rooks, Stephen Harris, Mark McDougall, Anthony Day, Bridget Watkins. Front Row- L to R: Deborah Fisher, Cindy Berlingeri, Sharyn Paspa, Fiona Davies, Pauline Eldridge, Tina Carroll, Melinda Beard, Kellie Wynne, Frances Barbato, Raquel Lopez, Deborah Wallace, Donna Nicholson. Teacher:

Black and white photograph - Grade 4, 1981."Attached to photograph" Back Row- L to R: Sean Cowley, ?, Chris McEwan, Scott (?). 2nd Row- L to R: Carl (?), ?, Troy Larkins, Bobby (?), Deanna Dinic, Steven Harris, Steven Gillen, Mark McDougall, ?. 3rd Row- L to R: Natasha Haggar, Melissa Beard, Kelly Wynne, Natania Jaffrey, Racheal (?), Frances Barbato, Frances Bellengeri, Debbie Wallace. Front Row- L to R: Cindy Bellengeri, Joanne Tabone, ?, Tina Gould, ?, Debbie Fisher, Pauline Eldridge, ?. Teacher was Margaret Mary Beuthin (d. May 1998, courtesy Rodney Beuthin). Teacher: Mrs Beuthin

This photo depicts a man standing next to a large piece of mining equipment identified as a hydraulic chisel (alternative name: drifter dill or power rock drill). This piece of machinery was used in mining to place holes in the walls of a mine which were then filled with dynamite or other explosives for rock blasting or to make holes for plug and feather quarrying. The additional tools to the right of the photograph and in front of the machinery can be identified as either picks or as feather and wedges, the latter of which were used to split stone drilled by the hydraulic or power chisel. Depending on the date of the photograph, which is not provided, this chisel was either powered by electricity or by hydraulics. The following is written on the drill "R.C. FORD'S PATENT No91 / MELBOURNE VICTORIA 1879". The man depicted in this photograph wears a wide brim hat, a loose fitting white shirt and loose pants. He wears boots and has a medium sized dark beard. This attire, along with his locality in the mine and proficiency with the mining equipment, identifies this man as a miner working in this particular, but unidentified, mine. It depicts an instance of hydraulic chiseling which makes this photograph valuable for the study of mining techniques from a date c1880.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray the types of machinery used in mining can reveal important information for technology and highlight the methods used to break apart the earth in order to obtain access to gold and other precious materials during the period this photograph was captured. Further research into RC Ford can potentially reveal even further information pertaining to this photograph. This image is of important historical significance for its ability to convey information about the methods and machinery used to access gold or mine more in general. It also highlights the size of machinery at the time and allows us to compare this to the size of the person standing besides the machinery to better understand the manpower which would have been required to use and set-up this macinery.A black and white rectangular reproduced photograph printed on matte photographic paper.Reverse: 7816/ copy 1/3gold, sluicing, gold sluicing, hydraulic sluicing, gold and tin mine, mining, gold mining, beechworth, burke museum, melbourne, victoria, hat, mining machinery, machinery, r. c. ford

B+W photograph on front mount studio portrait (B+W) of lady seated on upholstered chair (carved wood), man standing behind occasional table. Man is dressed formally (Bow tie and stiff shirt); whiskered- beard & moustache. Inscription: Front: the crown studios Sydney - printed on board. Back: (P.T.O).Back: Handwritten: 'Mr & Mrs Wittmann in later years when/they had gone to live in Sydney. RHSV stamp (Royal Historical Society of Victoria/Bendigo Branch), '1128', Printed by Studio: 'George & Market Streets/Sydney', 'The Crown Bromide Enlargement Coy 'Trade Mark'','The/Crown/Studios','Mark Blow/General/Manager', 'Portrait enlarged/on Bromide,Platinotype/Carbon Opal, and Finished/ in crayon, indian in, partel/water colour or oils',' Telephone No 477','Cable Address 'Bromide'/Sydney',' Copies of this Photograph No__ maybe had at any time'.The Crown Studios, Sydney, George & Market Streetperson, family, wittmann portriat

Coloured picture of an elderly man & lady. The man is wearing a grey suit. He has grey hair and beard. He is sitting at a table with a red cloth on it. He is reading a book and has some others on the table. The lady is wearing a black dress and a gold medallion necklace. She is wearing a lace cap which extends past the medallion. She has an open photo album on her lap. She is sitting in a green armchair with a brown cushion. Beside her is a brown table and in front of her is a small table with a green cloth. It has two large books and a tall green vase of pink roses on it. The view outside the window is of a stream with two people in it. One man is standing up and using a pole to guide the boat. At the top is printed 'Horner's Penny Stories 'River of Life' Series No 4. 5. 2. 1920. The picture is titled 'Threescore Years and Ten'. On the back is written 'MP277.MP277personal effects, greeting cards, malone collection, malone collection, greeting cards, horner's penny stories 'river of life' series no 4

Black and white photograph - Grade 5A, 1975."Attached to photograph" Back Row- L to R: Ian Butterworth, David Miller, Ken Baynkhin, Robert Miles, Robert de Keame, Lindsay Dawe, Dante Cellante, Steven Crashaw. 2nd Row- L to R: Jane Woolhouse, Susan Carlton, Bernadette O'Connor, Marie Roses, Erie Law, Connie Nicolopoulos, Joanne Chapman. 3rd Row- L to R: Wayne Bonney, Andrew Roper, Ricky Jenkinson, Phillip Elliot, Michael Beard, Darren Kane, Leslie Tomada, Garry Mathieson. Front Row- L to R: Mandy Faye, Lee Logan, Kerryn Oxley, Francesco Grico, Leanne Clark, Pauline Tobias, Lindy Toomey, Sheridan Oates, Michelle Webb. Teacher: Isobel Marshall

Black and white photograph - Grade 3B, 1970."Attached to photograph" Back Row- L to R: Craig Lucas, Mark Brackhus, Colin Johus, David Taggart, David Beard, Warren Rawson, Gary Oxley, Stephen Graham. 2nd Row- L to R: Lyall Tann, Robert Beal, Michael Schelfhout, Mary Hurley, Diedre Taylor, Donna Tirney, Gaye Bacun. 3rd Row- L to R: Jeffrey James, Cal Harris, Rodney Foote, Warren Alexander, Ross Williams, Rodney Cuthbert, John O'Sullivan, Cameron Nichol. Front Row- L to R: Susan Halsall, Fluer Kellet, Lynne Smith, Rochelle Backhouse, Sharon Hales, Diane Simpfenderfer, Deborah Smilie, Diane Axford, Joanne Persons. Teacher: Mrs Isabel Marshall

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925.Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in four parts: Part 1.1 (0008.1) Envelope Part 1.2 (0008.2) First page of letter Part 1.3 (0008.3) Second page of letter Part 1.4 (0008.4) Third page of letter The envelope is blue grey in colour whilst the pages are creamy yellow in colour. Page 1 of the letter begins with the salutation "My dear Lillie, here comes the promised letter...". Page 2 of the letter begins with "...in her birthday book". Page 3 of the letter concludes with "...yours Joe".The envelope is torn across the top for access to its contents. It has two stamps, a circular one in black ink towards the top left of the envelope reading "Durban, 2, May 21, 5.45AM, 1925", and a rectangular one coloured red and white reading "Union of South Africa, Postage, 2d" on the left-hand side of the circle and the right-hand side circle seems to say the same in South African perhaps. It is obscured by 6 large ink lines covering the top portion of the envelope from left to right. Within the circle is a mans head showing his left side profile. He has a beard and short hair. On the right side of the red and white stamp there is a second ink stamp that is also obscured but seems to be the same ink stamp as the first. letter, joe, handwriting, 1925, lillie duncan, lhlg, durban, lillian duncan, ladies harbour lights guild, mission to seafarers, mission to seamen, seamen's mission, east malvern, my little melbourne girl

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt