Badly damaged grey fabric covered hardcover Victorian reader Fourth Book which has a home made outer vinyl red, pink floral and square patterned dust jacket style cover. There are ink and pencil markings throughout. The cover is coming away from the spine. There are black and white illustrations. Lance Sebire is written in ink on the front cover.183p.non-fictionThis is a first edition of The Victorian Readers Fourth Book published by the Education Department of Victoria. school reader, textbooks, schools, victorian education department

Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Miss Eva Carmichaels Cave at Loch Ard Gorge where the survivors found shelter. Reverse has four areas of torn surface, perhaps were photo had been mounted. Hand written text in pencil and in ink.Reverse of photograph Hand written in pencil “ … refuge … which he … offer words … Miss Carmichael. He then … on the …“ Hand written in ink “Loch Ard Gorge / Miss Carmichael’s cave” and “ Mr J Swinton / Warrnambool / March 1895” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, loch ard shipwreck, 1878 shipwreck, loch ard gorge, miss eva carmichael

W. F. R. Budge VX48105 Ref Cat No 2721.Satchel - Canvas covered, camel coloured, brown leather strap, silvered metal attachments. 10 coloured pencils 4 black lead pencils 2 erasers scrap paper 2 Protractors Guide to Appreciations and Orders Booklet.Inside - “W.F. R. Budge VX48105”passchendaele barracks trust, canvas satchel

This item was owned and used by James Chester Kerr Trewin during WW11.These personal items give an insight into the human element of World War 11 ensuring that those who were part of the Orbost community who played a vital role during this time are remembered.A khaki coloured container which holds a clothes brush, a tiny pencil and other items.M.E. Co 1940ww11 trewin personal-effects military

Navigation Log for flight by A.T.S in Aeroplane W - 2275 operating under order No 18/40. Details filled in on form RAAF A.84. Form filled in by F/L Smith, Sgt Jones, P/O Jones. Part of the Frederick Gardner DFC RAAF No 410533 collection. Refer Cat No 3536P for his service details.Four page Proforma printed in black ink, handwritten details in pencil on pages 1,2,3.The hand written information pages 1,2,3, details a flight from Pt Nepean to Woodside, weather, wind speed and observation points noted.training flight, raaf, w - 2275

The letter is from Alf Ferris to his family at home from France on 10th July 1918. Refer Cat No 4183.3P for his service detailsHand written letter on faintly ruled lined paper in pencil, written on both sides.letters, personnel, military

The window in this photograph was commissioned by the Sandringham Yacht Club in conjunction with a Masonic Lodge and work carried out by Gerry Cummins in 1980. In the background is the S.S. 'Kanimbla' built 1935, Belfast for McIlwraith McEacham and was the last large passenger ship built specifically for Australian owners. Designed to carry 400 passengers , she plied her trade around the Southern and Eastern Ports of Australia. In WW2 she was an armed merchant cruiser and served in Indian waters and escorted the 1st convoy out of the Singapore after the Japanese invasion. She later operated in the Pacific after the war and after repatriation duties she was decommissioned and subsequently sold to be renamed 'Oriental Queen' which eventually caught fire and sank. . The small yacht in the foreground refers to the Sandringham YC. Window measurements: 600mm x 900mmShows the link with Freemasonry.Sketch in pencil and ink on cream paper for an arched stained glass window depicting a yacht.Bottom left corner: Proposed Stained Glass Window, Mission to Seamen. (Scale: Full Size) Right Left corner: Gerry Cummingsfreemasons, st peter chapel, flinders street, mission to seafarers, gerry cummins, jill stehn, stained glass window, sandringham yacht club, hearts of oak lodge, yacht, symbols, square, compass, ss kanimbla

A pencil sketch of an early house on the corner of South Road and Cummins Road by Marian Grimwade. signed : M Grimwademoorabbin, bbrighton, early settlers, bentleigh, nepean highway, arthur's seat road, moorabbin district roads board, market gardeners, artists, grimwade marian,

Ink and pencil on paper plan: Proposed First Floor Extension to Ballarat Girls' School plan, percy everett, ballarat girls' school

'Peter Pan' Cadbury Bourneville Cocoa Card. Pencilled reverse, from M HerringIssued by Cadbury , Bourneville , Engcottage, miners

BHS CollectionPencil sketch of the face of a young woman looking left. Untitled. William Delecca collection.Signed by the author: w A Deleccawilliam delecca, sketch, young woman

Kurt Winker was born in Germany in 1902 and was a survivor of the "Arandora Star". He was sent to Australia on the "Dunera" where he was interned at Tatura 1940-1945.Lightly coloured pencil portrait sketch of Miss Tup Hunter, Tatura, by Kurt Winkler. Kurt Winkler, Tatura, October 41kurt winkler, tup hunter, ww2 camp artists, kurwin

School slate board in wooden frame as used in State Primary Schools together with pencil.slate board, schools

Early draft of an article exploring the relationship between art, science and architecture.Typewritten, handwritten major pencil edits, quarto, 5 pages. Page 1 is missing.Page 1 missing, pages 4 and 6 handwrittenprefabrication, art, science, third culture, third culturalists; statler-hilton vision, robin boyd, manuscript

Boyd proposes that the architect can play an important role in the community, engaging through: 1. his own work; 2. in voluntary professional activity in the RAIA; and 3. in private community activity, eg giving advice to charities and giving public talks. He argues that although architects are often no longer project leaders (a role now taken by big builders and developers) they nonetheless are, and should remain, moral and artistic leaders.Original manuscript of article published in Bulletin, 2 Oct 1971. The Bulletin page is attached.Handwritten (pencil), quarto, 1 (handwritten), 1 torn out page of the Bulletin Reviewraia, architectural professional conduct, volunteering, robin boyd, manuscript

Boyd argues that Australia needs confidence in creative thinking so our products can cut through established formulas to contribute to our growth as a nation. He outlines four stages of architectural development in every community, and describes Canada in these terms. He posits that Australia overall is only at stage two (imported sophisticated), Brisbane/Hobart/Adelaide at stage one. Boyd argues the Australian dream of individual identity is impossible now, to move to stage 3 Australia needs to be encouraged to have confidence in Australian artists of all kinds, allowing creative people to flourish, be themselves. He indicates that Canberra is close to third stage, with architecture designed by international figures in 1960s but now Australian John Andrews brought out to do an architecturally creative office complex in Belconnen - Canberra, signalling growth of a national identity.Typewritten (c copy), pencil edits and additions, quarto, 7 pages - p12-18confidence in creative thinking, australian national identity, four stages in architectural development, canberra architecture, john andrews, robin boyd, manuscript

Primarily using the Osaka 70 World Expo, Boyd criticises the lack of depth of information of the event and the illusion each country provides for their audience. Boyd makes suggestions for improving audience engagement with the exhibitions and also for a new type of pavilion architecture which utilises the temporary nature of the buildings.Typewritten (c copy), pencil edits /notes, quarto, 6 pages. (Two copies)One copy annotated markers for slides for a talk or lectureosaka expo 70, japan, melbourne, robin boyd, manuscript, ohm2022, ohm2022_31

Description of Canberra's development after Walter Burley Griffin's urban planning and the impact it has had on other architects.Original manuscript published in The London Magazine Vol.4, No.4, pp.78 - 82Typewritten (c copy), pencil edits to 1, quarto, 8 pages. (Two copies)canberra, walter burley griffin, national capital development commission, robin boyd, manuscript

Boyd forewarns that the article is strong on generalisations and not diplomatic. He writes that Australian architecture is old-fashioned, second-hand, rejects sophisticated world fashion trends, and has under-developed professional pride and determination. In the last few pages, Boyd advocates a code of integrity and goodness in architecture, calling on designers to come together and commit to the code.Original manuscript published in Architecture in Australia, vol. 56, no. 3, pp. 454-465.Typewritten (c copy), pencil edits some pages missing, quarto, 26 pagesIncomplete- pages missing, and includes page 8Aaustralian architecture, sydney school, perth architecture, university architecture, code of integrity in architecture, robin boyd, manuscript

Advertising Pencils - Clark’s Furniture & Antiques Stawell, and C.W. Carter Storekeeper Lamont Streetstawell

Situated at 47 Lansell Street, Bendigo, the original 1911-12 Charles D'Ebro designed brick Bendigo Municipal Abattoir, comprising twin slaughter and hanging rooms for cattle, sheep and pigs, and two smaller ancillary brick buildings. After the buildings were acquired by the Country Roads Board in 1945, a substantial but sympathetic addition was made to the south-eastern end of the old cattle abattoir. The abattoir is significant for historic, architectural and technical reasons at a state level. as a rare surviving municipal abattoir, and represents the development of hygienic slaughtering through municipal regulations, thus improving standards of public health in Victoria. It is historically significant to the City of Greater Bendigo as a key to the primary production industry that centred on this precinct from the 1860s to the mid 1990s; they are an important surviving component of one of the largest regional livestock markets in Victoria. D'Ebro was critically influential in the development of industrial and in particular meat processing buildings, designing major freezing works and abattoirs throughout Victoria and Australia.(Source, National Trust Database). The Bendigo facility finally closed in 1945, when all slaughtering for local consumption passed to a joint export and local slaughtering facility at the Bendigo Inland Meat Authority. Ink, pen, pencil and watercolour architectural drawing for the proposed brick residence at Bendigo abattoirs. Proposed Brick Residence at Bendigo Abbatoirs (sic) For The Bendigo City Council. / Front Elevation / Easter Elevation / Section A. D. / Ground Plan / Wester Elevation / Section C.D. / Section I. P. ? Existing Building to be / Converted into Laundry ? Scale 1/8" to 1 FT / Geo. Austen Architect / Commonwealth Bank Chambers / Bendigocity of greater bendigo commerce, charles d'ebro

Small silver jewellery box containing silver lead propelling pencils x 5boxes, jewellery boxes

Handwritten anonymous notes, possibly 1971, headed "Ask Alec" and identifying information the writer needed such as 'Present state of the project'. There is no indication of what the project was beyond dates for the acceptance of tenders, start of construction and date of completion etc. Appears to be part of the review of the residences done at that time. When ideas for renovating and upgrading one of the homes was being considered. Apparently building would start in March 1972 and be completed before the end of 1972. There is no record of a Legatee called 'Alec' at the appropriate time in Melbourne Legacy records.Part of the history of Melbourne Legacy's involvement with residential care for children.2 pencilled foolscap sheets, black on discoloured white. Two holes punched for filing. residences, review