Henry George Roberts was born in Lambeth, Middlesex, The United Kingdom on 17 June 1885. The son of Elizabeth and Corporal Thomas Roberts of 2/3rd Regiment of Foot, The Buffs. Thomas Robert died in 1893 and on 28 September 1894 Henry was admitted to the Royal Military School as an apprentice. He remained there until 7 July 1900 when he enlisted at Aldershot, in the 2nd Dragoon Guards as a boy soldier. The 1901 and 1911 Censuses record him as being a musician with the 2nd Dragoon Guard, (The Queen’s Bays). Roberts married Lily Winterbourne Quinton in early 1912, a son Frederic was born on 1 February 1913. By August 1914 Roberts has travelled to Australia where he was employed as a musician and residing at “Quamby” Royal Park, Melbourne. His wife and child remaining at Mellison Road, Lower Tooting, London. On 8 September 1914 he enlisted in the Australian Imperial Force in Melbourne, allotted Regimental Number 42, the Rank of Trooper and allocated to A Squadron, 8th Australian Light Horse Regiment. His enlistment papers raise a mystery. He stated that he and six years’ service with the Territorial Hampshire Carabiniers but made no mention of his eleven years’ service with the Regular 2nd Dragoon Guards. There is no clear answer as to why this misinformation was provided. Roberts was promoted to Sergeant on 28 October 1914. His occupation and prior experience resulting in Roberts’ appointment to the leadership of the regimental band. After training in Australia, he embarked on the Star of the Sea at Port Melbourne on 25 February 1915 arriving in Egypt on 14 March. On 16 May 1915 he proceeded to Gallipoli where he was killed in action on 7 August 1915 during the attack on the Nek. He has no known grave and is commemorated at the Lone Pine Memorial for the missing. For his service in The Great War, he was awarded the 1914-1915 Star, British War, and Victory, Medals. Circular metal medallion with image of Britannia standing with a lion issued to NOK of No 42 Sergeant Henry Roberts 8th Australian Light Horse Regiment who was killed in action at the Nek 7 August 1915. The plaque about 120 mm in diameter, was cast in bronze, and came to be known as the "Dead Man’s Penny", because of the similarity in appearance to the much smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tons of bronze,Henry Roberts and continued to be issued into the 1930s to commemorate people who died as a consequence of the war.Henry Robertswwi, world war one, gallipoli, nek, 8th, light horse, roberts

A woman, an elderly woman and two children pose on the verandah of a Federation style home. On the back of the postcard is written: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills". This family is possibly related to the Rev Wm Green who was associated with St Margaret's Church Eltham at around this time. Evelyn Observer and Bourke East Record, Friday 6 March 1914, page 2 A very pleasant social gathering was held by the Glee Club in the Church of England schoolroom on the evening of last Thursday. An interesting programme of music, varied by a very amusing dialogue by Glee Club members; made an enjoyable evening. After the programme was finished, and before refreshments were served, Mr, Gilsenan, on behalf of the Glee Club and the visitors, expressed their good wishes to Rev. Wim. Green, Mrs. Green, and Miss Mills, who were leaving on the 3rd inst. for a visit to the old country. Mr. Green responded, reciprocating the good wishes expressed. The gathering broke up to the strains of "Auld Lang Syne." Evelyn Observer and Bourke East Record, Friday 11 December 1914, page 2 The Rev. Wm Green, Mrs. Green, and Miss Mills; who have been on a nine months' trip to Europe, returned to Melbourne by the "'Morea" on Monday and out to Eltham the same day. As the rev. gentleman only left England a few weeks since and the continent just before war broke out, he ought to have some reminiscences worth listening to; His return is welcome both to his church, and the community generally, the more so he being the only resident clergyman in the neighbourhood. Evelyn Observer and Bourke East Record , Friday 11 June 1915, page 3 The Rev. Wm. Green, who has been in charge of St. Margaret's Anglican church here for some eleven years, resigned to take charge of the Church of England " Messenger". and work in connection with the ? about Melbourne. He is to be succeeded in Eltham by the Rev, ? Sapsford, of North Brighton. Printed postcard with faded photograph on frontInscribed back: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills" Also inscribed in pencil - "V. Lay" (Vera Lay Greensborough)eltham, 1915, m. mills, mrs green, postcard, v. lay, houses

Continuous eleven page report and one page Statistics Report for Sale No. 96 Fat Cattle Sale Bendigo dated 9/1/96. Report issued on the 9/1/96 by Ron Laird. Report lists the buyers name and the number of head purchased each time from each agent and the total number purchased. Agents names are abbreviated. Buyers names are: Boydies Butchers, Clifford Quality Meats, Ellis Nuttall & Compa, Friswell K, Grenfell N, Hardwick GF & VC, Highland, ICM1, ICM4, Maher L, Masons Meat Pty Ltd, McCasheney & Co, McGillivary GK & GY, McIvor Meats, MCKean W & Co, No Commercial Value, Newman Livestock Sales 153, Newman Livestock Sales N 257, Newman Livestock Sales 3 269, Newman Livestock Sales N 480, Newman Livestock Sale No 282, Newman Livestock Sales 583, O'Connor G & K Pty Ltd, Brian Rodwell & Co, Safeway No 188, Andrew Schenk, Starr A, top Meats, D & K Webb, M/S K & J Wignall , Woodhead B, R H Woodward & Co 417, McKenzie & McKenzie, W Dwyer, J Bella, G Garner and Mrs Clark. Statistics Report lists the number of Heifers, Steers, Vealer Bulls, Cows, Cows & Calves and Bulls. Listed is Fat, Volume, Low, Average and High Price. Also low, average and high Value.bendigo, council, cattle markets, bendigo saleyards collection - fat cattle sale bendigo 9/1/96, ron laird, boydies butchers, clifford quality meats, ellis nuttall & compa, friswell k, grenfell n, hardwick gf & vc, highland, icm1, icm4, maher l, masons meat pty ltd, mccasheney & co, mcgillivary gk & gy, mcivor meats, mckean w & co, no commercial value, newman livestock sales 153, newman livestock sales n 257, newman livestock sales 3 269, newman livestock sales n 480, newman livestock sale no 282, newman livestock sales 583, o'connor g & k pty ltd, brian rodwell & co, safeway no 188, andrew schenk, starr a, top meats, d & k webb, m/s k & j wignall , woodhead b, r h woodward & co 417, mckenzie & mckenzie, w dwyer, j bella, g garner, mrs clark

Cream silk satin bodice, with a high round neckline, finished with a seven cm deep, cream lace, boned, mandarin stand up collar - five bones-(one missing) to support the collar. Nine 16cm bones support the shaping of the tapered firmly fitted waist. A ten cm deep yoke at front and back shoulders. Below the yoke is a panel of eleven cm long pintucks right across the front, and on either side of the back. Centre front gathers into a cotton tape band at the waistline. Below the neckline of the centre front, is a panel ten cm deep of cotton lace, then a 13cm deep fine silk, gathered frill, edged with a reinforced silk ruffle. The centre back opening has a double placket, each fastening with alternate hook and eye,hook on either side of opening. Two large hooks facilitate a joining with a skirt.The three quarter length satin sleeves, are a bell shape, and gather into a cream net, eight cm deep band, which fastens with two metal hooks and hand made loops. Over the net is a double frill, 13 cm deep, and edged with a reinforced silk ruffle, as in the centre front panel. This bishop-type sleeve has five X 12cm long pintucks at the shoulderline. A ten cm long row of a feather stitch type of hand embroidery on either side of front bodice-one each side of the gathered centre front panel. Bodice is fully lined with polished cotton.costume, female, cream silk-satin long sleeved bodice

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. 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.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. 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 etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 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.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

No 4 Squadron, Australian Flying Corps, formed at Point Cook, Victoria, in October 1916. After embarking for England to complete its training, the squadron deployed to France in December 1917. From the outset, No 4 Squadron aircraft regularly engaged the Red Baron's elite 'Flying Circus' and, in spite of their lack of experience, quickly gained the ascendancy over the German squadron. During its brief war service, No 4 Squadron destroyed some 128 enemy aircraft and spawned a total of eleven aces. The squadron's highest scoring airman was Captain Cobby who, in addition to shooting down 29 aircraft, also destroyed 13 observation balloons. World War II saw No 4 Squadron Wirraways deployed to Port Moresby in support of Australian troops fighting in the New Guinea jungles. In their slow and vulnerable aircraft, losses from anti-aircraft fire were high, however, this never deterred the Wirraway crews from completing their assigned tasks. This aggressive spirit was exemplified by Pilot Officer Archer and his crewman, Sergeant Coulston, who, while on a reconnaissance mission, found themselves above a Japanese Zero fighter. Despite operating a vastly inferior aircraft, Pilot Officer Archer dived to the attack and shot down the enemy aircraft. In June 1943, No 4 Squadron received its first Boomerang fighters and continued to support Allied troops during the Cape Gloucester landings before moving to Morotai. No 4 Squadron ended the war in Borneo and returned to Australia in November 1945, where it was renamed No 3 Squadron - thus closing the chapter on a very distinguished and proud unit. Summary of Unit Name(s) Start Date End Date No. 4 RAAF Hospital, Butterworth 06/06/1966 06/06/1966 No. 4 RAAF Hospital, Butterworth 03/07/1966 No. 4 RAAF Hospital, Butterworth 01/08/1966 01/08/1966 No. 4 RAAF Hospital, Butterworth 05/09/1966 No. 4 RAAF Hospital, Butterworth 29/09/1966 No. 4 RAAF Hospital, Butterworth 29/10/1966 29/10/1966 http://www.airforce.gov.au/raafmuseum/research/units/4sqn.htmWooden Plaque 15cm x 13cm with insignia of 4 Sqn.R.A.A.F. Hospital 4 Sqn R.A.A.F. Hospital r.a.a.f. 4 squadron, butterworth, r.a.a.f. hospital

Clothing. Very fine cotton petticoat with a fitted bodice, and dropped waistline. Back opening fastened with six 1 cm diameter buttons - three are fabric covered - (possibly the original buttons) and three plastic ''pearl'' buttons. The square neckline is outlined with 2.5 cm deep cotton lace inserted with 1.5 cm wide satin ribbon tied in a bow at the centre back and front. A row of very fine cotton lace, 1.5 cm deep then edges the square neckline, and also the arm holes. The back bodice is shaped in six panels, and front bodice is shaped in three panels. Three panels of embroidered cotton lace extends from the front neckline to the bustline. Outer panels are 5.5 cm wide and 7 cm long, while centre panel is 11 cm long and 5.5 cm wide. Each of these panels is outlined with the 2 cm wide cotton lace. From the dropped waistline, a 2.5 cm wide cotton insertion lace is threaded with 1.5 cm wide satin ribbon. The skirt is lined with fine cotton, finished at the lower edge with a 5 cm wide gathered cotton frill,and an over- frill, 14 cm deep of spotted tulle, edged with a 1.5 cm band of cotton lace. The outer skirt is spotted tulle in four bands- separated by four 3.5 cm wide bands of floral patterned lace. The hemline is trimmed with an eleven cm deep band of floral lace with a lower scalloped edge. The under-skirt is made with nine gored panels, and has a 5 cm deep lightly gathered frill at the hemline.costume, female underwear, petticoat.

Silk, satin, fully lined with silk (?). Eleven bones, ranging in length from 10 - 12 cm long, taper the bodice to the waistline. 15cm wide panels of beaded net come from the high back waistband, over the shoulder to the front waistband. These are loose panels with linear beading, and more decorative beading over the shoulders. Centre front panel has a net overlay, sheer above the bustline to the throat, with a 16cm high net stand-up, mandarin collar, edged in lace, and outlined at the throat with a row of tiny jet beads. Cotton perspiration pads under the arms.A beaded '' butterfly'' shape sits over the bustline where the sheer lace panel begins. Below the beaded motif, five roulet knotted and loops fasten into the finest of metal loops to close the bodice. Silk ''over -sleeves'' also have three roulet looped decorations at each edge. Below the elbow length ''over sleeves'', a double layer of net sleeves-the top layer finished with seven rows of tiny jet beads, the lower wrist length net sleeve, finished wit one row of tiny jet beads, and a two cm net fill. Beading and an embroidered ribbon flower trim the back centre net panel, and a roulet looped trim, sits at the centre back waistline. An extension of the beaded over -the-shoulder panels falls in a rectangular shape 38cm X 23cm. The front extension of the ''over the shoulder'' beaded net, falls in two oval shapes - one either side of opening 24cms long. A 4.5cm band of three pleated silk encircles the waistline.Waterfield, 14 Gleghow Terrace, South Kensington. ( Label on tape fastens around waistline).costume, female, black silk satin beaded bodice

Yields information about the method that the State Electricity Commission of Vic undertook interviews for staff appointments. Gave advice of the era for such interviews and objectives of the interview.Thirty page book printed on heavy light brown paper, stapled with an folded card cover titled "The Automaticket Bell Punch System of Fare Collection and Control". Describes the Automaticket system, has samples of traffic tickets pasted in the book, diagrams, drawings, gives details of the components and method of operation in particular ticket inspection, ticket and checking back office functions. Published by the Bell Punch Company of London early to mid 1930's? Cover and each page headed "Confidential Information for Executives". Has a photo of South Western Roadlines double deck bus with a conductor. See also Reg. Item 3629 for another version of the pamphlet for this machine. In the rear cover of the book, folded and stapled to give a pocket, are listed three forms that would have been provided with the book - not with the collected copy. -However in the pocket were eleven 11 "Ticket Issue Machine" or "TIM" tickets - eg City of South Melbourne library fine, packing slips, sample meal tickets, Army canteen beer tickets, and sample bus tickets - including one pinned to a business card - John Bolland of Eastern Suburbs Omnibus Service who were the agents for the TIM machines. (image btm3645i3) Card has date of "4-1-50". Also three sample Bell punch tickets and one ultimate machine ticket - two 1d tickets. As well at the time of acquisition were a SEC Special Pass - to Reg Item 3648 and a SEC Staff Pass ticket - to Reg item 3649. Full scan of document added as a pdf file 5/6/2019. trams, tramways, tickets, ticket machines, buses, bell punch

This photograph was taken in 1911 at Three Mile Creek, about five kilometers south of Beechworth town. Significant digging took place at this location from late 1855, which led to a flood of workers and stores to follow, though daily earnings were slim compared to the nearby Woolshed site. This remained the case even after workers at Three Mile Creek attempted to protest around Beechworth during an election in November 1855. Three Mile Creek was one of seven significant divisions of the Beechworth Mining District formalised by the Governor-in-Council in 1858, though by the time this photograph was taken, the boundaries of the original seven districts had shifted to create seventeen divisions. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund (a man second from the left in the back row of this photograph shares this surname) recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund would later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. The eleven miners in this photograph are: Back row: Led Guthrie, P. Pund, F. Beel, [Unknown] Miller Front row: Paddy McNamara, J. King, W. Beel, [Unknown] Garland, J. Clarke, J. Ryan, H. Bartsh In the background of the photograph is a huge dirt wall that appears to suffer damage caused by hydraulic sluicing. Hydraulic sluicing is a specialised mining technique that involves directing high pressure water flows at dirt to uncover gold. The technique played a significant role in shaping Beechworth's landscape during the gold rush to create the topography seen today.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1911. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Black and white / sepia rectangular reproduced photograph printed on glossy photographic paper mounted on board.beechworth, beechworth museum, mining, mining team, three mile creek, sluicing, hydraulic sluicing, photography, gold sluicing, gold mining, pund mining

Melbourne Design Week: 14-24 March 2019 Sat 16 Mar 19, 2pm–10pm Norla Dome The Mission to Seafarers Victoria 717 Flinders St Docklands Indulge in a fleshy live experience. Reconnect with your primal being through a progression of sensorial confrontations. Recalibrate your connection to the world around you – the future depends on it. Sensory Experiments is a call for change – a Manifesto for Sensory Intelligence. Part social experiment, part philosophical inquiry and a fully immersive performance piece, this innovative project is forged from a collaboration between two of the city’s (and, indeed, the world’s) most progressive and inquiring minds. An eclectic cohort of creative contributors has been assembled to design a provocative experience intended to awaken the senses. Allow internationally renowned chef Justin James (Executive Chef of Vue de monde and Iki Jime and previously of Eleven Madison Park & Noma Copenhagen) to reignite your sense of taste. Avail yourself to floral artist Hattie Molloy’s interrogation of sensual perception with her reckoning of the Sublime. Absorb and participate in live-choreographed performances, and be aurally challenged by the masters behind the Sydney Opera House’s iconic acoustics. Come, bear witness, bring curiosity. Immerse yourself in this never-before seen collective. Guided by Sense Whisperers, you’ll wander through a series of live, uniquely designed corporeal experiences. Your emotional and physical responses will leave a digital imprint as the results of Sensory Experiments are transmitted in real time. Connect to self, connect to others, and connect to nature – and leave your mark on a living, breathing manifesto for living. Project Partners Matt Tambellini, More Studio and Mr. Kyle Mac, Design and Web Amara Speechley, Curated by, Marketing, PR & Partnerships Damien Boecasse and Erika Hirzinger, Event Production & Project Management Event Partners Justin James, Edibles Hattie Molloy and Emma Proudfoot, Flower Art Mihan Aromatics, Scent Design Chelsea Kate Evans, Performance Direction Samantha Iliov and Holly Simpson, Ensemble Studio, Costume Rachelle Austin, Olivia Reddan and Holly White, Set Stylists Isabel Johnson, Ed Supreme, Messaging and Copy Arup, Soundscape Design Hayden Sommerville, Videography Belle Nowak, Social Media Pord, Wine Tasting Noomi, Seating Website inscapesprojects.com Instagram: @inscapesprojectsA4 size flyer on creamy colour papercultural events, sensory experiments, ngv, national gallery of victoria, melbourne design week, 2019, community, norla dome, incas projects

Deborah KLEIN (1951- ) Born Melbourne, Victorian Deborah Klein grew up in the inner southern suburb of St. Kilda and lived and worked in London from 1973 - 1980. The experience of living in both of these places was to have a significant and enduring influence on her work. She gained degree and post degree qualifications from Chisholm Institute of Technology, Melbourne and Gippsland College of Advanced Education, and a Research MA from Monash University, Gippsland. Since 1988 Deborah Klein has held regular solo exhibitions and participated in group exhibitions in Australia and internationally. Her work is represented in public and university museum collections throughout Australia. This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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, handcoloured linocut depicting a butterly with a female head with braided hair.Edition 2/36artist, artwork, deborah klein, klein, butterfly, insect, animal, printmaking, linocut, parallel prints, alumni

This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military

The badge represents the Emergency Services section of the Red Cross Society. The Australian Red Cross was formed on 21st August 1914 at the outbreak of the First World War. The badge was made by K.G. Luke Pty. Ltd. in Melbourne. Kenneth George Luke, began work as an apprentice in 1910 at Stokes & Sons Pty. Ltd. in Melbourne and stayed with the company for eleven years. He then became a partner in a metalworking business, wholly owning this successful Carlton business in 1925. From 1935-1945 his products included silverware and supplies for military needs. The firm was K.G. Luke Pty. Ltd. by 1936, making buttons, badges, brooches, and heated food trolleys at his office and factory in North Fitzroy, and selling from his showroom in Elizabeth Street Melbourne. His customers included the Australian Red Cross, Victoria Police, TAA Airline, and the military forces of Australia and the United States. Seventeen years later the company was K.G. Luke (A/Asia) Ltd, then twenty-three years on it was Luke Ltd. until in 1983 it was taken over by National Consolidated Ltd. Sir Kenneth George Luke was also a V.F.L. football administrator. This badge is one of a set of badges collected by Dr W R Angus from the organisations in which he was involved. The set of badges is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, surgeon and oculist. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This badge is significant for connecting Doctor Angus with organisations that he supported. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Badge, rectangular metal and enamel badge, with a blue band across the top and bottom, and a white and gold band in the middle similar to a belt with the buckle of a red cross. The badge has a horizontal pin on the back. Inscriptions on top and bottom bands and on the reverse. It is the badge of the Red Cross Emergency Service, made by K.G. Luke of Melbourne.This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.Printed on front; “RED CROSS” above “EMERGENCY / SERVICE”. Embossed on back “8029” “K.G. LUKE / MELB” flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, w.r. angus, badge, organisation badge, flagstaff hill maritime museum and village, australian red cross, charity, volunteer organisation, red cross, k.g. luke pty. ltd., kenneth george luke, north fitzroy, stokes & sons, w.r. angus collection

This file contains eleven items about these Gardens: 1/Handwritten note from Pam Harrison of Monash University dated 15/06/2005, stating that she is sending the Glen Eira Historical a collection of items from her aunt, whose husband worked for Caulfield Council. Stapled together with a typed acknowledgment from Hazel Ford, Hon. Secretary of the Society dated 15/07/2005. 2/Typed letter from Walter A. Coxen of Queenscliff to (unnamed) Mayor of Caulfield, dated 14/04/1910, stating that he encloses information about the two eighty pound rifled muzzle loading guns now at Hopetoun Gardens, with more recently typed shot description of “The Cannon of Hopetoun Gardens.” Also included is a typed page dated 14/04/1910, signed by Mr Coxen on “Particulars of the two eighty-PR guns presented to the Caulfield Town Council”. 3/Two undated black and white photographs showing garden beds at Hopetoun Gardens. 4/Typed letter from Lt.-Col M.P.J. O’Brien, President, Fort Queenscliff Museum, dated 05/09/1984, to R-Ballantine, Hon. Secretary of the Caulfield Historical Society, stating that he would be happy to assist in tracing the history of the cannons in Hopetoun Gardens. 5/Photographs of the cannon at Hopetoun Gardens. Four are recent colour photographs, one dated 06/1981. One is a black and white photograph, undated (mid-1930s?), with a man sitting on the cannon. One is a black and white photocopy of a photograph of the cannon, with three children, possibly from 1910. 6/Two colour photographs dated 15/05/2009, of the bandstand at Railway Reserve, which is to be moved to a new park in Glen Huntly Road. 7/Two colour photographs of the bandstand and playground equipment at Hopetoun Gardens, dated by hand on “c. 2000” 8/Printed four page booklet (two copies), no date (c. 2000?) of “Your Guide to Hopetoun Gardens – Interpretative Tree Walk”, printed by the Glen Eira City Council Recreation Services. 9/One colour negative (two copies of each) of swimming at Hopetoun Gardens, no date 10/Printed emails of correspondence dated from 26/08/2012 to 02/10/2012, to and from the Glen Eira historical Society, about the cannons at Hopetoun Gardens. 11/Article from Glen Eira News dated March/April 2013 about the history of the cannons with a coloured photograph.hopetoun gardens, harrison pam, ford hazel, coxen walter adam, cannons, parks, fort queenscliff, elsternwick, bandstands, glen eira recreation services, trees, triarico elizabeth, dunbar margaret, rogers john (fleet engineer)

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is a stone castle-top bell tower beside a church building flanked by trees. A stone fence is across the front, with pedestrian and vehicle white picket gates. The title is in red print on the front of the card. There is no correspondence written on the card. The reverse has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of the Interior of the church chapel, with exposed timber beams, white arches decorated with flowers, pews with books on shelves, and organ pipes. There is text on the image. The title is in red print on the front of the card. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here” Text on the arch: "THE LORD OF HOSTS"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool, arch pillars

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Ozone Hotel, Warrnambool – Construction of Warrnambool’s Ozone Hotel and Coffee Palace on the corner of Koroit and Kepler streets began in 1890. The luxury venue included ballrooms, dining rooms, a theatre and a tower. In 1929 it burnt to the ground in a spectacular fire. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This postcard of the Ozone Hotel and Coffee Palace is significant for its connection to the Victorian-era hotel. The hotel was a luxury facility that attracted visitors to the town by sea, rail and road. The postcard also represents the short period in which the hotel operated and the notable, unforgettable event of its burning to the ground. Out of the set of nine postcards in this donation, this card is the only one that includes the location of Warrnambool on the back. It is also the only one with text within the outline for the postage stamp and with headings in this font. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of a grand three-storey building on a street corner with a tall turret, shorter turrets, and arches on the verandas. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “Ozone hotel, Warrnambool” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, ozone hotel and coffee palace, ozone hotel, warrnambool hotel, destroyed by fire, coffee palace

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Titan Bridge, Warrnambool – The name Titan Bridge is likely to be a reference to the huge Titan crane that was used in the construction of the Breakwater in the late 19th century. Shelly Beach is a popular swimming area with the added attraction of rock pools to investigate and rock formations to climb. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the Titan Bridge rock formation with figures on it suggests that the location was a popular place to visit. It captures a time when the rock formation was publically accessible. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image shows two figures, one seated and one standing, beside the sea on a rough rock beside a rock formation resembling a bridge. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “TITAN BRIDGE / SHELLY BEACH, NEAR WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, shelly beach, titan bridge, titan, rock formation

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Bay of Biscay, Hopkins River, Warrnambool – This same image was published in Table Talk on January 6th, 1910 and in The Age, on December 18, 1929, referred to a revival of fishing at the Bay of Biscay on the Hopkins River. These and similar articles showcased the Bay of Biscay as a popular boating and fishing location and well worth promoting to places outside of Warrnambool. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the figures in a row boat on the river suggests that the location was a popular place to visit. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, portrait orientation, coloured print within a rectangle border with an impressed line around the image and a title in red. The picture shows three figures wearing hats in a rowboat on the bank of a river beside cliffs. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “Bay of Biscay, Hopkins River, Warrnambool” Back in green: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, bay of biscay, fishing, boating

In 1860 Smeaton residents appealed for funds to establish a school. Patrick Curtain, and his co-workers raised more than £150 plus a land grant (Allot A, Sect 2, Township of Smeaton). Head Teacher John Forbes, with assistant Zillah North, opened a timber school building which measured 36ftx18ft (11.0x5.5m) on 1 September 1861 with 44 children. Rising enrolment to 65 in 1868 made building alterations necessary. During 1870-1 a residence of four rooms was supplied and in October 1882 a 20ftx18ft (6.1x5.5m) classroom. In 1907 a new brick building accommodated 122 children. Among notable ex-pupils are Major-General Bridgeford, Frank Wright ( Musical Director of the London County Council), Alex Wright, (AKA singer Andre Navarre), and Les Brooks. (Visions and Realisations). Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. He was the youngest of eleven children. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was appointed in 1934 as the Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and Conducting and was a Fellow of the Guildhall School of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. Frank was awarded an M.B.E. in 1967 and he died in November 1970. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Cream printed certificate with hand written additions.Handwritten additions in caps: This is to Certify that FRANK J.H. WRIGHT has completed satisfactorily the Course of Study prescribed for Elementary Schools. Dated at SMEATON Elementary School, No. 552 this 23RD day of NOV. A.D. 1915 Class-teacher's name: DAVID WALTON Head-teacher's name: DAVID WALTON Robt STEPHENSON Inspector of Schools frank wright, smeaton state school, victorian education department elementary certificate

This clear, green tinged, Half Whirley (or Whirly) salad oil bottle has been handmade by a glassblower from 1870s-1910s. A bottle with such elaborate decoration would have been sought after as there was no need to decant the sauce into another jug or bottle to make it acceptable for table service. It is possible that this bottle was recovered from the Loch Ard, wrecked in 1878. A diver found the bottle on a shipwreck in the coastal waters of Victoria about 100 years from when it was made. The diver who found this bottle has recovered objects from several different shipwrecks between the late 1950s and early 1970s. A sizeable proportion of those objects was from the wreck of the famous clipper ship Loch Ard. This salad oil bottle may very well have been amongst that ship’s cargo. It is part of the John Chance Collection. A paper titled ‘Glass Bottles from the Loch Ard Shipwreck (1878): A Preliminary Study’ by Iain Stuart, (published in Australian Historical Archaeology, 9, 1991) included a study of twelve salad oil bottles from the wreck of the Loch Ard. The bottles were of this same Half Whirley design (half meaning that it was Whirley on the upper half but not on the lower half of the body), as well as the same colour and size. A diagram of one of these twelve bottles matches the bottle in our collection. The paper mentions that eleven of the twelve bottles have a number on their base, just as this one has. It is estimated that foreign and salad oil bottles totalled four percent of all of the bottles carried as cargo on the ship. The Half Whirley bottle has side seams from below the lip to the base, indicating that the bottle was made in a two-piece mould that included the heel, body, shoulder and neck. The fancy ‘whirly’ twist pattern and panelled sides would have been cut into the mould’s inner surface. The uneven thickness of the ridge around the base comes from adding a separately moulded and embossed base after the bottle was removed from the mould. The applied finish (mouth and lip) was also added to the bottle. The elongated bubbles in the glass are evidence of the glass being mouth blown into the mould, thus forming the shape and pattern from the inside shape of the mould. The bottle probably had a glass stopper with a round top and wedge-shaped shank with a ground surface, allowing the bottle to be re-sealed. The ring between upper and lower lip allows the closure to be sealed and anchored. The embossed numbers are either “133” or “833” and may represent a particular bottle pattern, manufacturer or filler. Although the bottle is not currently linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 19th century. This whirley salad oil bottle is matches the whirley salad oil bottles recovered from the Loch Ard in the 1990s, adding depth of interpretation to the array of salvaged Loch Ard artefacts in Flagstaff Hill’s collection. The salad oil bottle is an example of the type of food condiment containers that were used in Victoria’s early days. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks, including the Loch Ard, have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; glass Half Whirley salad oil bottle, green-tinged, with some opalescence. Handmade, elaborately decorated bottle with round neck and base, and five-sided body. Applied double lip; straight upper, flared lower. The lower neck and shoulder have twisted spiral whirley patterns in the glass. The body tapers slightly inwards towards the base. It has five plain panels, one wider than the others. Side seams run from below the lip to the heel. The heel of the bottle is uneven in width, height and density where it joins the body of the bottle. The base is not level. Embossed characters on base. Glass has elongated bubbles towards the base and orange-brown sediment inside, on one side. Embossed "133" or “833” (the first character may be an “8”) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, green glass, tinged green, two piece mould, food bottle, oil bottle, salad oil bottle, whirley, whirly, half whirley, condiment bottle

Nails such as this solid copper nail were forged by blacksmiths. A nail of this length could have been used for the ship's decking. It was recovered from the shipwreck of the barque Children. The Children wrecking: The barque Children was one of the first vessels to be lost in the Western District the vessel was wrecked to the east of Warrnambool on 14th January 1838. When it ran ashore in hurricane-force winds, 22 passengers and crew were fortunate to escape being battered to death on the rocks. The Children broke up within 20 minutes, sweeping sixteen of those on board to their deaths. After eleven days, the survivors, all of whom were injured, were rescued and taken to Portland. According to Lloyd's Shipping Register 1837-1839, the Children was built in 1825 at Liverpool and operated by owners Gordon & Co, of London. Registration number 123/1837, James Henty then bought her in 1837 as a three-masted barque of 254 tons, with a hull of “part pitch pine, felt sheathed” and “coppered in 1837” at Launceston registered number 6/1837. In 1838 the Children, under her master Captain H. Browne, completed a successful round trip from Launceston to London (carrying wool and whale oil loaded in Portland), returning in late November of that year carrying a general cargo including house bricks used for ballast. On the 11th of January 1839, the Children sailed from Launceston for Adelaide, with 24 passengers, 14 crew, and an awkward mixed cargo, including 1500 sheep, 8 bullocks, 7 horses, and farming implements, and six whaleboats with associated whaling gear. One account states that when the Children were “put out from port she was light and badly ballasted”. The vessel immediately encountered four days of hurricane-force storms, eventually clearing on the early morning of the 14th. However, it was too late to take accurate measurements of the sun or stars to establish their position relative to the coast. The Children collided with a limestone stack at the entrance of Childers Cove, and the seas smashed her into pieces within half an hour. All the cargo and 16 lives were lost including 8 children. The Henty brothers contributed £150 towards a fund for the 22 survivors at a memorial service held in Launceston later that year. It was a major financial setback for James Henty and his brothers, but one from which they recovered. In a submission to the Governor of New South Wales dated 24 March 1840, the Henty’s summarised their work over the previous six years of establishing the Portland settlement stating. “Six stations have been occupied, one at Portland Bay three at the open country about 60 miles inland called ‘Merino Downs’ They have erected two houses at Portland Bay and two others at Merino Downs”.This nail is significant as part of the vessels original fixtures. The Children was delivering cargo intended for the Portland Bay settlement of her owners the James Henty brothers The wreck is also significant as one of the first vessels to have been lost in the Western District of Warrnambool. As a result the shipwreck of the Children is registered with the Victorian Heritage Register S116. Ship's nail, copper, with a washer attached. The nail has a round head, solid round shank and a flat end. It is bent, twisted and has indentations in the centre section. The nail was recovered from the wreck of the CHILDREN.warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, shipwreck artefact, the children, nail, copper nail, ship's nail, children shipwreck