Black and white photograph of a misty landscape with trees. Inscribed on reverse in pencil 'These were my Tribesmen'. Inscribed on Matt front 35 circled and 5/5. matcham skipper, photograph, landscape

This child's shoe was found underneath the floorboards of the historic Brighton house St Ninian's, 10 Miller Street, during its demolition in September 1974. One of Brighton's earliest buildings, St Ninian's was built around 1841 for merchant, politician and former British naval officer George Ward Cole (1783-1879) and his family. Ward Cole was a prominent member of Victorian society in the mid-to-late nineteenth century. He served in the Victorian Parliament from 1853-55 and 1859-79. His seaside home in Brighton was a fashionable rendezvous for many important identities who shaped Melbourne’s history. Victoria’s first royal visitor, Prince Alfred, Duke of Edinburgh, was a guest there in 1867. It is possible the shoe belonged to one of the Ward Cole children. During the demolition of St Ninian's in September 1974 the Brighton Historical Society's then-secretary, Rosalind Landells, snuck onto the work site in the hope of saving some part of the building and its history. She found this shoe under the partially-demolished floor of the house.Brown leather child's shoe with an ankle strap, fastening with a mother-of-pearl button. Heavily deteriorated.Handwritten in pencil on the sole of the shoe: "Found under floor at St Ninians 1974 Sept during demolition".st ninians, george ward cole, children's clothing, 19th century

James PASAKOS (13 December 1967- ) Jimmy Pasakos graduated with a Bachelor of Fine Arts majoring in Printmaking from Caulfield Institute of Technology (1986-1988); Postgraduate studies majoring in Printmaking at CIT (later Monash University) in 1989, and between 1991-93 he pursued a Masters of Fine Arts at Monash University majoring in Printmaking and Drawing. Pasakos is Art Lecturer at the Arts Academy, Federation University Australia. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition etching on paperEditioned, signed and dated in pencil bottom edge '2/36 Docklands Melbourne J Pasakos '15'james pasakos, etching, melbourne, parallel prints, printmaking, docklands

GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012Framed coloured etchingon paper. Donated through the Australian Government's Cultural Gifts Programme by Katherine Littlewood.Under image in pencil ' state proof ', "personal best" Ricardo 2000'. From Strange Games series. geoffrey ricardo, printmaking, framed print, available framed, available, sport

Colour slides of a demonstration at the Olympic Swimming Pool stadium in 1960. The children are wearing red toy solider costumes and one slide has a sleigh pulled by a reindeer in the routine. More slides from the 1960 demonstration are catalogued separately. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to 1979. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of different routines in an Annual Demonstration at the Olympic Swimming Pool stadium.Colour slides x 3 of a Demonstration routine with children in red toy soldiers costumes at Olympic Swimming Pool, in a cardboard mount.Handwritten on front 'Demo 1960' in blue pen, one has '8' in blue pen and '15' in pencil.annual demonstration, marching

A dark green Choral Anthems book with the title printed in ornate gold lettering at the top of the front cover. 114 Beautiful Anthems is written in black letters with the compiler and Complete Volume below. There is a black floral lined border. The spine cover is missing. On the title page is printed along with a black lined picture of the compilers head: Choral Anthems. Beautiful Festive Music for Sunday School Anniversaries, &c. Compiled by John Burnham. Complete Volume with publisher details. There is a Dedication on the back of the title page. An Index to Choral Anthems is on the opposite page. p.256.non-fictionA collection of 114 beautiful Choral Anthems: festive music for use at Sunday School Anniversaries and other occasions.choral anthems, anthems, festive music, songs

A grey badly damaged paperback with Whitcombe's New Federal Arithmetic Grade IV, printed on a scrill like shape and Specially written to meet the requirements of the New Victorian Course of Study for Elementary Schools written below in a box, along with the publisher's symbol. Whitcombe & Tombs Limited Melbourne & Sydney and other cities is written at the bottom of the front cover as well as the price. 1/- .Inside are exercises, charts, diagrams and lessons for the students to complete.112p.non-fictionA re-written textbook of Arithmetic for elementary students to meet the needs of the 1934 Revised Victorian Course of Study.arithmetic, primary school curriculum

Bruno Moretti was a key early Australian Paralympian, and a gold and silver medallist in the Paralympics during the 1960s. A founding and later life member of Disability Sport & Recreation, Moretti continued to contribute to the disabled sports movement after his retirement from competition.Black and white photograph of Bruno Moretti with two trophies.The reverse side of the photo has the handwritten description (in pencil): Bruno Moretti BEST PLAYER 1960'S

The first picnic was held in association with the Market Gardeners and Fruit Growers’ Association on April 3, 1884 at Lilydale. Groups of market gardeners travelled by train with their families from Cheltenham, and stations further north, to Lilydale at a cost of three shillings and six pence for adults and two shillings for children under 15 years. On arrival a band played music to accompany dancing ‘on the green’, and foot races were held as well as other sporting events. This pattern of activities was followed for more than fifty years although the location of the picnic changed and the mode of transportation varied.Black and white image of men and women sitting and standing together around a picnic laid out on the ground in front of them. Handwritten in pencil: A25 - CHAP 3 Handwritten in red ink on a white square sticker: A25 / 71%market garden, picnic, celebration, seaside, community

Response by Legatee J.E. Chancellor, Chairman of the Residences Review Sub-Committee dated 30th August 1972 to the letters from Legatee Carter (Cat.No. 01685), and addressed to the Chairman of Junior Legacy Club, with copies to the recipients of Legatee Carter's letters. In his detailed response, Legatee Chancellor refutes Legatee Carter's claims with detailed reasons and explanations. Part of the history of Melbourne Legacy's involvement with residential care for children.White foolscap sheets x 3 pages, with black type. Two holes punched for filing. Page 1: two vertical pencilled lines Page 3 verso: L/H.C.Rodgers in blue biroresidences, review, blamey house, harelands, stanhope

A class photo of a group of young legatees at a gymnastics class in Auburn. There are 31 boys, of various ages, in gymnastics gear and 5 men who could be the instructors and Legacy members. Legacy clubs ran classes for junior legatees for many years. It was part of providing for the children of their deceased comrades. The skills they learned were show cased in an annual demonstration usually at the Melbourne Town Hall. It appears to be photo taken professionally, as there are several photos of different classes (see 00862 - 00867) perhaps to record Legacy classes for promotion purposes. The photo featured in the September 1953 Newsletter.A record of a way Legacy provided classes for junior legatees.Black and white photo of Legacy boys posing for a class photo.Printed on the back 'Auburn'. Stamped 'S5324/1--' and '531' in blue ink. Handwritten 'Same size' in pencil.junior legatee, boys' classes

Stages in the construction of one of the two Birney Safety Cars, imported from the J G Brill Company of Philadelphia in kit form in 1924, and assembled in the area formerly occupied by the buses. In the background of Item 9237 is the trailer purchased from the North Melbourne Electric Tramway Company in 1924. Its number in the order in which Geelong cars were acquired was 13 (the Birneys were nos. 14 and 15) and it was eventually converted to a track scrubber car in 1926. It never carried the number 13 but was advertised for sale as such at the closure of the tramways in 1956. See Items 9231 and 9237.Black and White print on paper.12-8 and GRS710/12/1/8 written on the reverse in pencil. No. 2 written on the reverse in ink.birney safety car construction, birney safety cars, j g brill company of philadelphia

Saloon underframe of one of the Duncan & Fraser tramcars being assembled at the depot in Geelong c. 1911.,Black and white print on paper.12/3 and GRS710/12/1/3 written on the reverse in pencil. No. 2 written on the reverse in ink.tramcar saloon underframe, duncan & fraser tramcar, tramcar assembly, geelong tramcar

Tram line up at the depot with the same personnel (Item 9235), in formal poses in each photo. They are attired in the MESCo uniform that suggests that the photographs were taken before the State Electricity Commission of Victoria takeover on 1 September 1930. The ex-Melbourne Meadowbank cars 27 and 28 first ran in Geelong in 1928. Date of the photos would therefore be restricted to 1928-30, but it is possible that they were taken close to or on the handover date as a final record. See associated item 9235.Black and white print on paper12-10 and No. 1 written on the back in ink. GRS710/12/1/10 written on the back in pencil.geelong tram depot, geelong tramways tramcars, geelong tramways personnel, state electricity commission of victoria

Tram line up at the depot with the same personnel (Item 9234) in formal poses in each photo., They are attired in the MESCo uniform that suggests that the photographs were taken before the State Electricity Commission of Victoria takeover on 1 September, 1930. The ex-Melbourne Meadowbank cars 27 and 29 first ran in Geelong in 1928. Date of the photos would therefore be restricted to 1928-1930 but it is possible that they were taken close to or on the handover date as a final record. See Item 9234.Black and white print on paper.12-11 and No. 1 written on the reverse in ink. GRS710/12/1/11 written on the reverse in pencil.geelong tram depot, geelong tramways tramcars and personnel, mesco tramway uniform

Geelong Tramcar No. 23 lit up for the coronation of King George VI, May 1937. Globes forming the letters "GR" adorn the side of the saloon and many Union Jack flags decorate the car.Black and white print on paper12-9 and No. 4 written on the reverse in ink. GRS170/12/1/9 written on the reverse in pencil.tramcar no. 23, coronation of king george vi, decorated tram

Landscape image of two zebras grazing in long yellow grass. Mounted on cream matt, in a wooden frame with glass. Brown and yellow colours.Front: 1/7 (lower left) Africa (centre) Mary Macqueen - 73 (lower right) (pencil)female artist, female artists, women, women artists

UnknownAbstract print. Yellow underlayer with brown layer of ink on top. Darker pigmentation towards the centre of the print. At the top right and bottom centre there are two thin crosses. The entire surface is thickly built up, creating an undulating surface to the image with variation in pigmentation. Mounted in cream matt. Framed in natural wood frame with perspex glazing.Front: Robert Grieve (lower left) Composition (centre) 4-10 73 (lower right) (pencil)

Hardback cover book with white Title (see above) and author text, KVERNDAL, Roald, on pink grey cover. pp 903, ills. Cover image depicts a masted galleon ship at anchor with interior lights at dusk or dawn flying from the stern of the ship is the blue BETHEL flag featuring a star and dove of peace in top and lwr corners respectively. xxviii, 903 p. : ill. ; 24 cmnon-fictionThis book will long stand as the foundational study of church missions and ministry to men and women of the sea. International in scope, it covers in detail the efforts, particularly during the past two centuries, to serve the spiritual and moral needs of seafarers. The author, himself a former seafarer and seafarers' chaplain, spent more than fifteen years of painstaking research to compile this fascinating and authoritative book.merchant seamen, missions and charities, royal navy chaplains, missions-to-seamen, mission to seafarers, roald kverndal, bethel, welfare, shangaing, crimping, health

Part of 'The Woolcock Galery Collection" Exhibited CEMA 1989.Pen and ink drawing of stem with many large rippled leaves, with dark upper sides and paler undersides. Stem has small hairs. At mid-stem are two branched stems with multiple flowers with small heads and large sepals. Work is mounted in double matt (white on grey), framed in a wooden frame with silver edging, under glass.Front: Bedfordia arborescens (Blanket Leaf) (lower left) (pencil). Back: 34 (upper left) (pen)collin woolcock, woolcock collection, botanical drawings, bontanical, cema

Motor roller at the corner of Corio Tce. and Yarra St.,, Geelong. Emblazoned in its side is "Pioneer" Patent Motor Roller, made by Barford and Perkins Ltd, Peterborough, England. Date is likely to be 1920, with reconstruction of the power house taking place in the background.Black and white print on paperSpare written on the reverse in pen. 20-5 and GSR710/20/1/5 written on the reverse in pencil.geelong tramways motor roller, motor roller, pioneer patent motor roller, barford and perkins ltd

This photograph is part of series depicting Allan Quinn's travels through San Francisco in 1949. This photograph shows the Golden Gate Bride and the San Francisco Bay.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Golden Gate Bridge, and the San Francisco Bay, dated 9-11-49.Reverse: 9-11-49 (handwritten in blue ink) / B /K8 (upside down, handwritten in pencil).allan-quinn, photograph, san-francisco, golden-gate-bridge, 1949, allan charles quinn (1928-1990)

Draftsman's drawing Central Red, White, and Blue and Sheepshead Mine Map. Forms part of the Margaret Roberts Collection of mining records.Handwritten on plan, Warden's Camp Bendigo Exhibit, Apportion for Forfeiture 8.8.10 (1910) Notes in pencil of measurementsbendigo, margaret roberts, gold, map, mine, north red white blue and sheepshead

Black and white photograph the ASEA Truck at Preston Workshops. These trucks were used on the Z class trams. Shows the completed bogie with ASEA nameplate on the motor and SKF on the bearings. Photo taken with the truck on one of the traverser.Has in pencil on the top of the photograph "ASEA -truck-Preston-MMTB" and "ASJ" in the top right hand corner.trams, tramways, bogies, asea, skf bearings, preston workshops, trucks, z class

3701.1 – English Electric Co. Ltd – “Specification for DK 29, 30, 31 and 32 Ventilated Traction Motors”, publication No. 288 – 4 pages. Includes motor performance chart for the DK 30B motor and 2 images of Ventilated traction motors, one box frame and one split frame type. Publication No. 223 and 224 respectively. 3701.2 – English Electric Co. Ltd – “Specification for ventilated traction motor DK34 – box frame for 24” or 27” car wheels”. Publication No. 263, March 1921 – 4 pages. Includes Two photographic images for this motor, showing complete motor and significant parts – publication numbers 283 and 284 respectively. Traction Motor curves for DK34A motor, publication No. 295..1 - has "40HP motor" in pencil in top right hand corner. .2 - ditto for "30HP motor"trams, tramways, english electric, specification, maintenance, motors

Colour slide of Scrubber or rail cleaner No. 11 turning from Wellington Street St Kilda into St Kilda Road. Shows the signal box above the awning of the licensed grocer. In the view are R T Taylor Licensed Grocer and Brookes store. The Junction Hotel can just be seen on the right. Shows High St which was later widened. Yields information about St Kilda Junction and the signal box.Kodachrome colour slides, cardboard mount, duplicate.Stamped "Tramways Museum Society Victoria". In pencil "Old Junc note Junc box" and number "MP100"tramcars, scrubber tram, scrubber 11, st kilda junction, wellington st, high st, signal box

Drawing shows the power supply arrangement to the overhead for the VR St Kilda Brighton tramway, including Elwood depot and substation. Has been marked up for removal of the line south of Elwood Depot to Brighton and Dickens St crossover. Shows the isolating and paralleling switches and their pole numbers. Not known when the original drawing was prepared. The tramway or electric street raikway operated from 1906 to 1959, the section south of Elwood depot closing in two stages during 1956. See reference for history of the line.Yields information about the power supply arrangements for the St Kilda Brighton tramway.Drawing dyeline print and hand coloured with a cloth back sheet with two punch holes on the left hand side to enable filing.Has numerous pencil inscriptions that updated the drawing to c1957 and a "Cancelled" stamp in the bottom right hand corner.tramways, vr, victorian railways, power supply, electrical switching, electrical engineering, st kilda brighton tramway, elwood depot

The photograph shows an internal view of a Y or Y1 class tram possibly at the time of its launch in 1930. See also item 7419 for another internal view.Yields information about the interior view of a Y1 class tram.Black and white photograph with photographers stamp and notes on rear.Has the stamp of "The Argus Melbourne" on rear and a pencil note "Interior Y1 Safety car - One-Man"trams, tramways, mmtb, y1 class, one-man trams, internal photos, interiors

Colour slide - Kodachrome Duplicate cardboard mount - of a MMTB Grinder at work early morning at the corner of Swanston and Flinders St with Flinders St Station in the background. Station clock showing possibly 6.30. A workman is marking out the work to be undertaken with a piece of chalk. On the station building is a sign for Mitchell's brushes and the Cultural Centre appeal fund board. No slide print date - during the 1960's?On the slide in pencil "MP 6 Dupes", a Tramways Museum Society stamp and the numbers 759 and 1-5trams, tramways, grinder, work trams, flinders st station, swanston st, trackwork, tram 12