Original directional signs from Chalet interior. Dated to pre 1960's. "A number of specific items, which have been useful in the day to day operations of the Chalet, remain in the building with each complementing the other to provide context, meaning and character to their setting. Items such as the hall porter bell, the many signs providing information to the guests, the wall clock, barometer and dinner bell point to the Chalet being a well-run social institution with a pleasant environment for rest, recreation and congenial company." (Pg 81 Historica, MBCC) Listed in Draft Inventory of Significant Collection Items. Appendix A.3 Fixtures and Fittings. (Pg 165 Historica MBCC) Varnished wooden directional signs with painted gold lettering to direct guests through the chalet to the cafe and the guests drying room. Signs have rounded edges and are attached to a vertical post.1. "Cafe, fruit, drinks, souvenirs, confectionary, tabacco, photographs, suppers etc." 2. "GUESTS DRYING ROOM"

A slide image of three ladies in a waiting room, believed to be in the old Legacy House in Market Street, probably from the 1950s. The portrait of Stan Savige was painted by E. Buckmaster for the Archibald prize in 1946. Legacy rented the Market St premises for many years. It was part of the Western Market complex that was demolished and redeveloped in the early 1960s. Legacy held meetings, activities and the girls classes on the second floor of the building, accessed by this staircase, but it was barely fit for purpose. In the 1940s a generous donation by an anonymous donor meant Legacy could purchase a building at 342 Swanston St, but due to several factors were never able to inhabit it. Finally it was sold in 1954 and Junior Legacy Melbourne purchased 289-299 Swanston Street Melbourne (previously called Red Cross House) in 1956 from the Commonwealth Government and moved in after refurbishing it.A record of the Market Street building that Legacy occupied for many years until 1956-7.Colour slide of three ladies in the waiting room at Legacy House in Market Street in a yellow cardboard mount with piece of glass.Handwritten 'Waiting room Legacy House. Painting of founder in background' in blue pen on the slide mount.properties, market st, portrait

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A rectangular beautifully carved wooden framed mirror featuring a gold painted carved lion head at the top and gold painted crest shaped ornamentation around the edges of the frame.mirrors, functional objects, wall mirrors, objects

These hand carved framed wooden pictures are part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.Two hand carved Indigenous busts in wood frames.1: A mother wearing a headband and striped gold, white blue and pink painted clothes draped over a baby. Only the face of the baby is depicted. 2: A father's upper body bust also has clothes draped over the baby he is holding. Both are framed using natural sticks which are painted brown on a white backfround.wood carvings, carvings, portraits, artworks, objects

1865 Kilmore.14cm x 9.5cm black and white photograph of the corner of Mitchell Street and Sydney Street near 85 Sydney Street. The corner does not exist present day. The building in the photograph sits with the its main entrance on the corner of the two streets, Harris Dublin and Manchester Warehouse painted boldly on above the second story windows. You Can see pictured peop posing for the photograph under the awning of the store. Written on the back of the mounted photo: View of Dublin & Manchester Warehouse Operated by Harris & Co Undated: Near 85 Sydney St. Presented to Kilmore Historical Society by Miss E. Glanville (Store in Sydney St North on West Side) Near 85 Sydney St see K.H.S. WRITTEN ON THE BACK OF THE PRINTED PICTURE: KILMORE 1865 Harris Dublin and Manchester Warehouse, Corner of Mitchell & Sydney Sts. Produce Merchant next door 1072manchester store, produce store, retail stores, shopfronts, 19th century

This image captures the moment just before the Maldon Market Building was converted into the Shire Hall and Offices. The decision to so convert it was made formally by the man who painted it in has new role as Shire Secretary.This framed oil painting on canvas depicts the Maldon Market building, in the period before it was converted to be the Maldon Shire Hall and Offices. In the rear of the scene the Courthouse can be seen, with the Maldon Contingent of the Victorian Volunteer Rifles drilling in front of it. These buildings are located in the former Government Camp area. The work was painted by Henry Joseph Charles Mitchell, later to become the Shire Secretary in 1864.maldon victoria, market building, shire hall

Murray Comrie Collection. The players are posed in front of Tarnagulla Town Hall (later known as Burstall Hall) in the main street of Tarnagulla. The building has since been demolished. Mens football team posed in four lines in front of large building. All are wearing black tops and white shorts. Man at centre front is holding a football on which is painted PREMIER 1931. Taken in front of Tarnagulla Mechanics' Institute, formerly the Borough of Tarnagulla Council Chambers, and later known as Burstall Hall. Demolished c1980."Presented by Tarnagulla Football Club to H.E. Radnell player Premiers 1931". Player names listed in piece of paper adhered to photograph.tarnagulla, sport, football, radnell, mcnamee

Murray Comrie Collection. The players are posed in front of Tarnagulla Town Hall (also known as Burstall Hall) in the main street of Tarnagulla. The building has since been demolished.Mens football team posed in four lines in front of large building. All are wearing black tops and white shorts. Man at centre front is holding a football on which is painted PREMIER 1931. Probably taken in front of Tarnagulla Town Hall otherwise known as Burstall Hall (now demolished).Names of subjects and name 'L.Williams' handwritten on reverse.tarnagulla, sport, football, radnell, mcnamee

This device was used to measure surface wind speed and direction. This anemometer was located on a concrete pad outside room 2.15 on a steel pole. The pole was considered unsafe and the anemometer was relocated to it's current position. When lowering the pole it fell over and was badly damaged. The Bureau of Meteorology donated it to the museum. It was then repaired and restored. The central pole on which it is mounted is galvanised iron pipe painted black. The anemometer, a portable device that manually measures wind speed, was a necessary instrument once common to all weather stations. The arms are attached to a vertical rod and as the wind blows, the cups rotate, making the rod spin. The stronger the wind blows, the faster the rod spins. The anemometer counts the number of rotations, or turns, which is used to calculate wind speed, surface wind and direction. They were designed to be durable to withstand the corrosive environment and strong winds expected at coastal sites such as those at Gabo Island. Anemometers existed in the nineteenth century and their design was improved by various experts including John Robinson in 1846, John Patterson in 1926, Brevoort and Joiner in 1935 and Derek Watson in 1991 who added wind direction measurement to its functions. This example was made for the Bureau of Meteorology by the Melbourne instrument company, Synchrotac, which became registered and incorporated on 26 July 1966. It is now displayed inside the building. A good example of its kind, the anemometer has first level contributory significance for its historic value and provenance to the lightstation.Anemometer and tripod stand. Three cupped brass discs on rotating arms fixed to turned brass cylinder shaped shaft. Beneath discs is a lead directional wind arrow attached to a rotating arm. A wooden three legged stand with central supporting pole of black painted hardwood and attached to a white painted marine ply circular base.Under wind cups: " SYNCHROTAC / MELB. / ser.no.70/372 / MADE IN AUSTRALIA." Above wind direction arrow: "C.OF.APT..../ SYNCHROTAC / MELB ? MADE IN AUSTRALIA / ser.no.70/372"

Probably used in the past to house the Signal Flag set at the lightstation. Appears to have been stored in the old stables for a number of years.The rectangular wooden cabinet has the distinctive features of a flag locker, comprising numerous open compartments of the same size each for storing a signal flag of a unique design. It has three internal shelves and a bench top, and is painted grey, a colour that is used for many of the wooden utilitarian furnishings in the six lightstations Parks Victoria manages. The cabinet, without its flag contents, was found in storage in the old stone stable building and is highly likely to be original to the lightstation. A wooden flag locker is held at Wilsons Promontory Lightstation. A wooden locker comprising two sections of 16 pigeon holes and four cupboard doors is held at Cape Otway The two flag lockers at Cape Nelson Lightstation are included in Victorian Heritage Register for contributing to the significance of the lightstation. The Nelson, Otway and Promontory lockers have associated sets of flags which are original to the lightstations. The Gabo Island cabinet has second level contributory significance for its provenance to the lightstation.Timber cabinet painted grey, partitioned with numerous open compartments of the same size .

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her photos are held in the Society Collection. The Wodonga Post Office was constructed on the corner of Sydney Road (High Street) and South Street in 1874. It was Wodonga’s second Post Office. The original post office opened on June 1, 1856 near Wodonga Creek. This building was originally built of red brick, although it was later painted over in white. It had an attached residence in South Street and was connected to it by a door. The residence was later demolished to move the mail boxes which had faced High Street, to South Street. The brick Telephone Exchange was constructed in 1946 behind the Post Office but separated from it. It operated as a manual exchange until the late 1960’s or early 1970’s. In 1985 a new post office was opened further south in High Street. This building, greatly renovated, is now part of the Wodonga Community College.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century. A black and white image of the 2nd Wodonga Post Office. There are 6 windows across the front of the building and the name Wodonga Post Office below a round clock. To the left of the building is the royal insignia of the crown above the letters E.R. A sign for the Commonwealth Saving Bank of Australia is also attached to the wall.high st wodonga, wodonga post office, businesses wodonga

The barrel was used in the Wodonga Court House as part of the selection process for jurors. It was a standard issue barrel used throughout Victoria. It was retrieved from the ruins of the court house which was destroyed by fire. It was then donated to the Wodonga Historical Society. The timber display stand was made and donated by Jake Tooley, a Wodonga Historical Society member, The Court House was situated in the Customs Store building alongside the Wodonga Police Station in 93 High Street. (The house where the Police Station was had originally been the home of the Customs Officer). In early 1964, the court house building was burnt beyond repair and furniture and other property destroyed. The cause of the fire was never found. The Police Station was lucky to survive but only because of the efforts of the local Fire Brigade. After the fire, the court was held first at the old Fire Station premises near where the Wodonga Post Office is near Woodland Grove, then it moved to a vacant building in Mitchell Street which was later turned into a Child Care Centre. Foundations for the new court house in Elgin Street were laid in October 1965 Local significance due to its use in the Wodonga Court House and its survival of a major fire. State significance as it documents a procedure used in the Victorian Court and Legal system Cylindrical metal-iron barrel painted black with writing stenciled on the front in white The timber mount was made for storage and display is not part of the original object,Inscription on Barrel "WODONGA./ Jurors in use./ Special"wodonga court, jurors, selection, legal system, fire

The First Australian Exhibition of Women's Work was held at the Exhibition Building, Melbourne, from 23 October to 30 November 1907. It was opened by Lady Northcote (the wife of Australia’s Governor General) and Pattie Deakin (wife of the Prime Minister), who also ran a model creche during the exhibition. The five week exhibition showcased the work of women musicians, artists and craftswomen with over 16,000 exhibits in all fields of artistic endeavour. It was attended by approximately 250,000 people. Exhibits were divided into Classes, including Fine Arts; Applied Arts; Photography; Plain Needlework; Cookery, Preserves and Laundry Work; Horticulture; and Medical and Nursing. This item was owned by Mrs. Mary Burrowes, aunt of Mrs. Jean Raper.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A small ruby glass and crystal jug which was produced as a souvenir of the Australian Exhibition of Women's Work held at the Exhibition Building in Melbourne in 1907. It has been inscribed in gold coloured paint. "Mary Women's Exhibition 1907"vase, glassware, decorative items

The mark on these items indicate that they are Gouda pottery. Gouda is a style of Dutch pottery named after the city of Gouda, where it was historically manufactured. Gouda pottery gained worldwide prominence in the early 20th century and remains highly desirable to collectors today. Gouda pottery is diverse and visually distinctive in appearance, typically illustrated with colourful and highly decorated Art Nouveau or Art Deco designs. Pieces were mass produced but painted by hand by many individual artists. The dating mark system used and the small house represent the pottery of Plateelbakkerij Zuid Holland (PZH). This is a simplification of the "Lazarus-poort" (the Lazarus Gate). It stands for a building in the town of Gouda that dates back to 1609 where they assisted people who suffered from leprosy. The PZH produced pottery from as early as 1898 until 1965.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. Hand painted pottery cup and bowl in art deco designs. These items are examples of Gouda pottery.Underneath cup : "LQ4/HENLY/A.R.J.T/HOLLAND" with 2 Vertical diamonds representing 1923 and house which is stylised image of the Gate of Lazurus. Underneath Bowl: "401/PEGGY/2 Vertical Diamonds 3 W v V/HOLLAND"domestic items, gouda pottery, ceramics

The green holder for the weights was hand made by cutting recesses out of a single piece of wood. The wood was painted green. Between 1960 and 1988 Australia gradually adopted the SI units (Standard International) or metric units. In 1970 the Australian parliament passed the metric conversion act, and the Australian building trades made it the standard in 1974. This information helps to date the set of weights to C. 1970s.These weights have local and social significance to indicate the weights used in many homes or small businesses in the 1970s.Set of 5 small metric weights in wooden holder. Measurements are difficult to decipher but "Gram" can be identified around the edge of some weights. Holder has been created by cutting round recesses into a block of wood.metric system, weights and measures australia

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

Percy Fairlam was an early 20th Century photographer living and working in Cheltenham. Fairlam captured important social and landscape scenes in and around the Cheltenham area including cliff faces, sea baths, and rock pools. With the outbreak of World War I (WWI), Fairlam began training in Seymour and documented preparations for war, comradeship and the voyage to France and war. Shrapnel to the shoulder, on 4 January 1917, saw Fairlam evacuated to England and resulted in him being separated from his personal possessions. As such, all these images have been lost. After the war, Fairlam moved into the family business and no longer pursued professional photography. However, he continued to take an interest in the art form capturing intimate family moments as well as continuing to capture social and landscape scenes.Black and white photograph of a Richard William Percy Fairlam (Percy Fairlam) standing in the doorway of a small wooden building. Above the doorway is a painted sign advertising it as the photography business of R.P. Fairlam. In the large window at the front of the shop a number of photographs can be seen.Handwritten in red ink on reverse: 115% Black printed text on a white round sticker on reverse: 71

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Abbots Lager. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'Keep Going. Fill up in town, but a good drink is bloody hard to get'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Abbots Lager mural.tobruk, soldiers, lager, beer, abbots lager, murals

A photo of a mural in Libya painted by a South Australian Sapper of a tea pot saying '9,256 miles to Griffiths Bros Tea Headquarters, Melbourne'. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says '9,256 miles to Griffiths Bros Tea Headquarters, Melbourne'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of a Griffiths Tea mural.tobruk, tea, murals, world war two

A photo of a mural in Libya painted by a South Australian Sapper of a bottle of Victorian Bitter Ale being poured into the Melbourne Cup trophy and horses racing. The photo, and two others, were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. The text says 'A good thing for the Cup but better for the tonsils'. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian). 'The photos were there when we were coming back from Western Libya sometime in March 1941, prior to the 6th Division going to Greece.' From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2. They were donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of the way Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Victorian Bitter Ale for the Melbourne Cup mural.tobruk, beer, victorian bitter ale, ale, horse racing, murals, world war 2

Letters regarding three photos of murals in near Tobruk in Libya. The photos were sent to Melbourne Legacy in 1979 by Legatee Syd Wilson of Yamba NSW. He thought Melbourne Legacy might be able to use them to generate money by selling them for advertising or publicity. He said they were enlargements of snapshots he had found in his old army trunk. Legatee Wilson's letter says the murals were: 'painted on three walls of a white concrete Italian block house (Police Check post I think), some 18/20 miles west of Tobruk, between Tobruk and Derna, and near a captured Italian airfield, somewhere about February 1941. Obviously they were painted by a Victorian Sapper. They were very well done, by a competent Sign-writer/artist, in correct and excellent colours (captured Itie paint no doubt - there was plenty in their Naval Stores at Tobruk).' (NB Itie was slang for Italian) From the AWM website the signs were painted by South Australian painter, SZ538 Sapper Leslie John “Doc” Dawes, 2/3rd Field Company, Royal Australian Engineers. There are several photos on the AWM site including the building the three murals were on.Photos taken by a Legatee when on active service in Libya in World War 2 and donated to Legacy when it was thought they could be used for fundraising, which shows that Legatees were conscious of that Legacy needs to generate funds to continue its work.Black and white enlargement of a photo taken in Libya of Abbotts Lager mural.tobruk, murals

BHS Collection Leaflet titled A Voice from the Golden City - Bendigo Artists, Architects and Visionaries. An exhibition held at the Bendigo Art Gallery until 4 July 1999. Mentioned are photographers and artists including Thomas Wright, John Carter Northcote, W E D Stuart, Alexander Fox, Nicholas Caire, George Rowe, Ludwig Becker, S T Gill and George Lacy who took photos and painted pictures of the City from local vantage points. Also included are local identities and buildings. Written by Karen Quinlan, Curator. The front has a faded out impression of the fountain, and the back has a photo taken by Nicholas Caire titled Sandhurst - North Part, as seen from the top of the Masonic Hall 1875 photograph: Bendigo Art Gallery.bendigo, history, long gully history group, the long gully history group - a voice from the golden city - bendigo, cassell's picturesque australasia, thomas wright, john carter northcote, w e d stewart, alexander fox, nicholas caire, george rowe, ludwig becker, s t gill, george lacy, james edwin meadows, c d richardson, dr backhaus, george lansell, william charles vahland, robert getzschmann, william beebe, cohn brothers, bolton brothers, bendigo pottery, bendigo advertiser, bendigo tramways, sandhurst trustees, sun loong chinese dragon, shamrock hotel, diamond lil, bendigo william thompson, knipe's castle, no 3 shaft of the garden gully mine, cascade in rosalind park, dame nellie melba, post office clock, alexandra fountain, town hall, post office, masonic hall, beehive store, princess theatre, bendigo art gallery, karen quinlan, australian unity, bendigo historical society, city of greater bendigo, national library of australia, national sound and film archive, the national trust, bendigo branch, north central goldfields library, coliban water, 3bo, ten victoria, albion chambers, albion hotel

This is a glass cup which has been painted and etched at the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition lasted three months and was staged at the Liebig/Timor Streets intersection at the Warrnambool Town Hall and Council buildings with some temporary buildings added for the occasion. It was reported that 70,000 people visited the displays, attended the concerts and entered the competitions. John Villiers, a Warrnambool painter and decorator with a glassware and chinaware shop in Liebig Street, had a stall at the Exhibition. He brought from Melbourne a glass etcher who etched glass souvenirs such as this one for patrons of the Exhibition. It was the first time that glass etching had been done in Warrnambool. Alice McConnell was born in 1885 in Warrnambool to Robert McConnell and Matilda Russell so she was about 11 or 12 at the time of the Exhibition. She died at the age of 17 in Warrnambool. Her father was possibly the proprietor of the R. and J. McConnell livery stables which later became a transport company in Warrnambool.This glass is most significant because it is one of the few surviving souvenirs of the important Warrnambool Industrial and Art Exhibition of 1896-7. It is also a memento of Alice McConnell, the owner of the glass, who died at the young age of 17. The item comes from the estate of Ken Wooles who was a descendant of the Wooles family prominent in Warrnambool as monumental masons. He was also related to the McConnell family on his mother’s side of the familyThis is a glass cup with a handle. It has a curved shape and has a painting of a young girl with brown hair in a white decorative setting. The glass is etched with the name of Alice McConnell and this was done in 1897 at the Warrnambool Industrial and Art Exhibition of 1896-7. There is a crack near the handle.‘Warrnambool Exhibition, Alice McConnell, 1897’warrnambool industrial and art exhibition 1896-7, alice mcconnell

Painted in 1988 during the Bicentennial year. Artist: R. AndersonWater colour showing south side of Learmonth Street, Buninyong, including Town Hall, Whykes' Butchers, a shop and the National Bank building.R. Anderson, '88 Copyright.buninyong, shops, streetscapes, learmonth street

The building is the Soldiers Memorial Institute Pall Mall Bendigo. The period of the painting is between the years 2008 and 2016 after the remodeling of the Forecourt and the major renovations to the building 2016 - 18. This is the first of 3 water colours by Stan Thomas. The building was the HQ of the Bendigo RSL now known as the Bendigo Military Museum. Refer Cat No's 8000.2, 8222, 8224 for the building history.Painting, water colour, timber gold frame, painting is set in two white insets, painting shows a large building greyish colour with a dome on top by artist Stan Thomas.Hand painted on, "RSL Hall Bendigo", "Stan Thomas"brsl, smirsl, painting, rsl hall

The building is the 3rd in a series of 3 water colours by Stan Thomas. The building is the HQ of the Kangaroo Flat RSL Sub Branch. The Sub Branch was formed on December 18th 1951. Refer Cat No 8231 for the series.Painting, water colour, gold timber frame, painting set in two white card insets showing a brick building with white double doors and a flag out the front with 4 large pot plants, by artist Stan Thomas.On top of the building, "Kangaroo Flat RSL", hand painted on "Stan Thomas"brsl, smirsl, painting, water colour, kangaroo flat

This building was the HQ of the Eaglehawk RSL Sub Branch. It is the 2nd in a series of 3 water colours by Stan Thomas. For all items relating to Eaglehawk RSL type in the letters ehrsl in search. Refer Cat No 8231 for the 3 in the series.Painting, water colour, gold timber frame, painting is set in two white insets, shows a long building with a round roof with a brick front by artist Stan Thomas.Hand painted on, "Stan Thomas"brsl, smirsl, ehrsl, painting, eaglehawk

Louise Paramor says, “I just love colour and playing around with it, it makes me feel good. I get a kick out of harmonising colour in conjunction with form. I think if there was more finely tuned colour in the world it would be a better place. There exists a lot of untamed colour in the everyday and to me this is often creates a feeling that is the opposite of uplifting.” In this work, Paramor creates a utopian building from collaged pieces of paper, which have been painted in planes of coloured enamel. Often these collages become sculptures, for which Paramor is mainly known. Andy Gomez writes of Boomtown, “Louise Paramor invites us into her own fabricated domain, where colours are coherent and vivid, buildings are unique and non-conformist, where public sculpture exists for the sake of form, colour, line, and levity. There is an inherent optimism at work here, exalting the accomplishments and ingenuity of the urban sprawl and the enforced participation of a shared culture and experience that offers.”

Black and white photograph set in a timber frame with gold paint Royal Mint (bottom left corner)historic building, historic photograph, former royal mint