Demonstrates Wal Jack's records, hand written in a recycled notebook. Note - several sheets have been cut from the book - appear to be done before use by Wal. The crossed out sheets have not been imaged - these have been transferred by Wal to Reg Item 5507 and re-ordered. Image 30 shows a sample of a crossed out page. See related documents for a pdf file of the contents. Scan No. BTM5623iX Page No. Title or Subject Notes 1 Front 2 Inside Cover Addresses for Jack McLean, John Buckland Trooper Larsen Inside front cover. 3 1 Note re NSWT steam tram motor, MMTB PCC import issues, Peter Duckett seeking info and Photo of Julien’s battery tram on test in Melbourne 4 2 MMTB No. 8, 4, photos, Tyrell’s of Sydney photos, Perth 63 dimensions and MMTB plans for Domain Road & St Kilda Rd Jtn. 5 3 Notes re NSWGR P32, VR locos at Wodonga 13/10/1941, SAR V Class V143, SAR locos – W and Wx 6 4 NSW Private locos, Woy Woy quarry and AGL at Mortlake 5 Blank 6 Blank 7 7 First cable trams – links to photos T154, 29, 154 (Adelaide) 8 8 T156, Powelltown, Ray Pearson Negs 9 9 QR B18 ¼ locos, Ray Pearson’s scrap book, PMTT Zeppelin style trams, MMTB T class locations and 178/179 rebuilding. 10 10 Hawthorn horse tramway, VR Black Rock terminus sketch 11 11 NSW Tramways, Ryde, MMTB L class, Geelong tramway notes 12 12 Locomotive “Ballarat” in WA, Brisbane and various contacts. 13 13 Notes re VR News – 1943, H class, derailments, max speeds, Koondrook tramway and Geelong level crossing. Individual typed sheets pasted onto page – loose within book. 14 to 17 14/17 List of MMTB trams to 877 and work trams Some errors noted. 18 18 Newspaper cutting – Tram Record Day revenue (Brisbane 10/1943), Steam Trams at Journey’s end – Sydney – 6/1943 list of equipment being sold by Sydney Ferries, at Parramatta, 6/1943. MMTB Tram crossings in Melbourne, list of Sydney photos sent to Wal. Cuttings and Individual typed sheets pasted onto page. 19 19 Midland locos WA, VR open wagon stencils and a siding at Mt. Evelyn. Individual typed sheets pasted onto page. 20 20 Note re Sydney four wheel tourist trams and Hawthorn Max. Traction cars locations c1945. 21 to 23 21/23 Notes on Geelong Bogie trams and carrying flags for declaration of Newtown and Chilwell as a city – 1/10/1949 (See also Reg Item 5641) 24 to 26 24/26 Notes on Wellington Corporation Tramcars 37 27 Kelburn – Karoi cable line Wellington 28 to 29 28/29 Auckland Tramway Board tramcars notes 30/31 Blank 30 32/33 Notes on Ballarat tramcars – ESCo Crossed out 34/37 Ditto – SEC Crossed out 38 Music for the people notes Crossed out 39 Notes on Ballarat trams with tail lights Crossed out 40/43 Notes on Ballarat bogie trams Crossed out 44/45 Notes on SEC tram controllers, dead man and truck lengths. Crossed out 31 45 List of Ballarat Destination roll – Dec 1949 32, 33 46/47 Notes on Bendigo Bogie Trams – 1940’s 34 48 Bendigo Destination roll on a Birney tram Easter 1950, notes on tram tail lights and fares on the Bendigo system. 49 Blank – though headed “Bendigo Birney Trams” 50 Notes trams used on special days in Ballarat Crossed out 51 Ditto and No. 24 and 23 Crossed out 52 Ditto, 15, 11, 23 and Gold tram Crossed out 53 Notes on 34 caused delays, 5/1950, and use of 23 as gold tram Crossed out 54 Notes on repair to track at Sturt and Drummond 6/1951 Crossed out - see Reg Item 7720. 55 Notes on track work in Ballarat early 1950’s Crossed out 56/57 Notes on 33, 37, pay as you enter signs and 1953 special workings Crossed out 58/60 Notes trams used on special days in Ballarat Crossed out 61/64 Blank 35 65 “Salute to the Cable Tram” – transcription of text from Truck and Bus Transportation (July 1948) 36, 37 66/67 Continued from above and list cable tram routes, opening, closing, length and route colours. 38 68 List of photos in Truck and Bus Transportation, Anniversary Issue July 1948 of cable trams. 69 Blank 39 70 Notes on Brunswick TT, Fitzroy TT colours, Adelaide Service trams and MMTB route lengths. 40 71 Notes on HTT colours, tramcars, PMTT trams and colours and NMETL colours, trams and route destination signs 41 72 Notes on MMTB routes, cable and other Melbourne tram disposals, and sale of cable trams and storage at Brunswick. 42 73 Blank - page was headed Lugarno, Switzerland and Italian border 42 Handwritten sheet – photos to get – R. Field and Peter Duckett. 43, 44 74/75 Listing of trains on all lines leaving Ballarat and days run. 45 77 Listing of negatives sent to K. Rogers in 1944 and list of MMTB Max. Traction bogie trams 117 to 138 and disposal 46 77 Listing of MMTB trams, - appears to be something to do with photos or negs held. 47 78 Listing of Ray’s (Pearson) negs /photos of Brisbane trams and other railway photos. 79 Blank 48 80 Prices of pine timber in 4/1942, list of photos “I want”, notes re VR Train length, Ironbark Gully bridge, 3817 in Harden smash 7/1948 and 1948 Ballarat destination roll. Partly crossed out. Rear Cover. Has a strong association with Wal Jack, his work to collect and record both railway and tramway information. Yields information about tramways in Ballarat, Bendigo, Geelong and other cities tramways and railways.Grey covered book with black binding containing 40 lined sheets (80 pages) with handwritten notes with the front cover partly cut out and the words "Jewellery & Engraving" book written in. Contains some newspaper clippings and pasted typed notes as listed below. The image number of each sheet is given. See individual pdf files. trams, tramways, mmtb, ballarat, bendigo, sydney, brisbane, railways, geelong, new zealand, victorian railways, sec, esco

In response to impacts of COVID-19 on the lives of the people of Nillumbik, and on creative practitioners across Australia, Nillumbik Shire Council called for writers to provide short texts, reflecting on their pandemic experiences. At the time, and for months afterwards, walking was one of the few sanctioned recreational activities, and in that way a reminder of 'normality' and the importance of community. Twenty texts were selected to be stencilled onto public walkways for the Written in the Time of COVID-19 project. There, on the pavements of locations throughout Nillumbik, they could intersect with the precious pleasure of the daily stroll, jog or cycle.Such was the quality of writing received, that many other texts could have been chosen. Writers responded with humour, sadness and passion to the extraordinary times. Given this response from writers, who submitted work from across the country, and the importance of recording the public experience of COVID-19, it was determined that a collection should be created, gathering in one place the very best of Written in the Time of COVID-19 submissions.This anthology is the result. It takes its name from a phrase in the piece, Moss, by Eltham writer, Lucinda Bain. Within these pages are tiny threads that exist only because, in 2020, a virus changed our lives and caused us to reconsider how we lived them. Incudes some black and white photographs and illustrations and short biographies of participants.anthology, poetry, covid-19, coronavirus, pandemic, 2020, nillumbik shire council

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation HO54 Grimwade House, former Harleston stables, outbuilding, garden, gate and Picconia excelsa tree. https://vhd.heritagecouncil.vic.gov.au/places/35573 as at (28/10/2020) ''Harleston'', now "Grimwade House", is situated at no. 67 Balaclava Road, Caulfield North, at the Orrong Road corner. It was built for Frederick, later Sir Frederick, Grimwade, to the design of architect Thomas Watts in 1875. Today the complex has been incorporated in the Melbourne Grammar Junior School campus. It retains not only the main house but also the stables and mature garden setting with driveway and gates. It is historically, aesthetically and socially significant.From Victorian Heritage Database citation HO54 Grimwade House, former Harleston stables, outbuilding, garden, gate and Picconia excelsa tree. https://vhd.heritagecouncil.vic.gov.au/places/35573 as at (28/10/2020) It is historically significant (Criterion A) as the former home of prominent business man, speculator and benefactor, Sir Frederick Grimwade. Both Grimwade and his house are exemplars of the commercial enterprise of the Boom period and the amassing of personal fortunes with which it is associated. It is aesthetically significant (Criterion E) as an imposing yet stately large house of its time, the classic Italian form with comer verandah terminated by projecting wings being most distinctively seen in this instance. It is enhanced not only by the garden setting but also by the delicate cast iron verandah spandrels, stained glass work and stencilled ceiling in the music room. It is socially significant (Criterion G) on account of the value placed on it by the community associated with the Melbourne Grammar Junior School since its inception on this site in 1911.Page 154 of Photograph Album with five photographs (4 landscape and one portrait) including Grimwade House, gates and a tram shelter.Handwritten: Grimwade House (Melbourne Grammar Prep School) / incorporating "Harleston" Orrong Rd. S.E cnr Balaclava Rd [top right] / 154 [bottom right]trevor hart, verandah, porch, slate roof, garden, grimwade house, grimwade, harleston, sir frederick grimwade, thomas watts, orrong road, balaclava road, melbourne grammar, melbourne grammar junior school, italianate, cast iron verandah spandrels, stained glass, stencilled ceiling, mgs, m.g.s, school, grimwade family, jessie grimwade, gates, palisade style fence, cast iron spears, stone plinths, melbourne grammar prep school, victorian style, cast iron work, caulfield north, gardens, cars, tram services, outbuildings, stables, trees, picconia excelsa tree

signwriting, stencil, mickey mouse, keith rash

The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. This handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy.This ink bottle still retains its original cork. The method of manufacture is representative of a 19th-century, handcraft industry that is now largely replaced by mass production. The ink bottle is historically significant as it represents methods of handwritten personal and business communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian 'boat' shaped ink bottle; small rectangular clear glass ink bottle with grooves in shoulders for holding pen. Bottle has side seams and a 'burst-lip'. The bottle retains its cork.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, stencil ink, copy ink

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, a number of elements of the the interior design scheme reference Greenlaw’s Scottish origins. Following his death in 1895, from 1897 the house was leased and owned by a succession of owners including the Fripp family, the Royal Women’s Hospital and the Mount Royal Hospital before being sold to the Society of Jesus for Xavier College. In 2004 the title was transferred to Villa Alba Museum Inc., and the western section of the garden leased to Xavier College for 99 years. The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.villa alba museum, interior design - 19th century, paterson brothers - decorators - melbourne, russell winnell photography, dining rooms - 19th century

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols