Black and white sketch on cream paper mounted on light board Eaglehawk Mechanics Institute "This lady had no idea that our books were so interesting until the LIBRARIAN handed her one to read" Reader try one quarter 2/6 (two shillings sixpence subscription) Drawn by James Staines Abbott 1890James Staines Abbott 1890

Clothing. Fine white linen fabric. A .8 cm 'tuck' edged at top and bottom with a spoke-stitched border, marks the waistline. Below the waistline is a peplum, split at the centre front with 8 cm deep peaks. These peaks are repeated at the centre back. The peplum tapers to 7 cm deep at side seams. The camisole is trimmed at the top edge with a 4 cm deep band of cotton lace. The top edge of the linen fabric has a double row (off set) of cotton embroidered 'spots' 2 mm in diameter, and three rows of drawn thread work - one cm in width, 3.5 cm wide lace form the shoulder straps. The back opening fastens with six tiny 7cm pearl buttons, and hand-stitched button holes. The lower button fastens with a loop at the waistline 1880-90's. A 'fan' of pintucks, arched from 4 cm long at the ends, to 6 cm long at the centre, fans the midriff at the centre front, above the waistline - 28 tucks in total.costume, female, camisole.

Printed coloured photographic postcard. Image depicts a formal garden in the foreground with a wide street to the right hand side. Buildings line the street into the distance with a large Gothic building in the middle. A castle is in the background high on a hill. Street traffic of trams and horse drawn vehicles can be seen, with people walking and standing on the footpaths. The words Princes Street Edinburgh are printed in red along the top left hand corner. A signature has been written across the lower right hand corner. Reverse is addressed to Miss Dean Esmond Golden Square with a one penny stamp postmarked Bendigo.Valentines Seriespostcard

Printed black and white postcard. Images depict various views of Capetown. Clockwise from upper left is of a jetty with boats and buildings with the words The Jetty printed in red across the top. Next is a streetscape with buildings and trees with the words Tambours Kloof printed in red across the top. Next is an aerial view of a sea port with the words The Docks printed in red across the top. Finally a streetscape with buildings, horse drawn vehicles and people walking with the words Adderley Street printed in red across the top. The words Cape Town are printed in White on the left hand side. A white space depicted as a scroll is in the lower right hand corner containing handwriting. On reverse card is addressed to Mr G Balsillie Hopper St Bendigo Victoria Australia. Writing covers the left hand side.postcard

Memorandum from the Office of D.R.S. Sup't Bendigo 1st July, 1938. FPM/S. Issues of Tools Comprising Enginemen's Kits on Engines. The sup't of loco Supplies has drawn attention to the enormous increase in the number of tools issued for Enginemen's kits, and below is set out the issues for 6 months under the old system and the issues for the 6 months under the new system. The percentage increase in hand hammers, hand lamps and feeders is particularly large. The above state of affairs is giving much concern and unless an improvement results it is probable that the whole system may be abandoned and the old method reverted to. Enginemen are requested to give this matter close attention in order to ensure the success of the present system. F.P. Martin District R.S. Superintendentorganisation, union, a.f.u.l.e

Photograph of a Royal mail Coach drawn by two horses, the coach is full of people with many riding on the top. There are two boys riding bicycles behind the coach, there are several small buildings in the background, a water tank on a tall tower is visible behind the left hand building. The words 'Royal mail' are painted on the side of the coachtopic, objects, transport, royal mail

Photograph of a horse drawn cart with one man and five women seated on the cart, the women are all in costume with large bonnets. There is a large model of a tomato sauce bottle on the back of the cart, the sides and front are decorated with crepe paper flowers, with the letters CB worked in on the right hand side (left in photo). Written on the back in blue pen is ' Swan Hill Show Exhibit 1951'organization, business, show exhibit, cohn brothers, swan hill show

Postcard: hand coloured image showing mine site in Golden Square. Brick chimney in foreground, sheds. Tramway from LH side to poppet head behind chimney. On back of card ' Post GWW Card' Printed partly in Great Britain and partly in Germany. In black ink ' Dear Muncie Bob, I hope you arrived all right. I suppose you have started work before this. I don't start till 10th. Feb.' A stamp has been drawn, showing a house and written ' little house on the hill' Dated 1913.G.W.W.bendigo, mining, old chum mine, golden square, old chum mine, golden square, postcard

Index, bib, ill, maps, p.476.On 25 June 1950 the invasion of South Korea by the Communist North launched one of the bloodiest conflicts of the last century. The seemingly limitless power of the Chinese-backed North was thrown against the ferocious firepower of the UN-backed South in a war that can be seen today as the stark prelude to Vietnam. Max Hastings has drawn on first-hand accounts of those who fought on both sides to produce this vivid and incisive reassessment of the Korean War, bringing the military and human dimensions into sharp focus.korean war 1950-1953 - history, korea - history

Coloured postcard, embellished with wattle left hand side, and kangaroo bottom Rh corner. Image shows Pall Mall, looking northwards. Post Office, Hustler's mine with brick chimney visible on left. Alexandra Fountain in centre bottom, horse drawn vehicles and two trams at Charing Cross. Henderson and Goode Beehive building and Shamrock Hotel on right. Receipt number 355/16bendigo, business, carwardine soap and candle

Map on white paper that has yellowed. Black print Handwriting is black but faded. In wooden frame behind glass. Printed Survyor's plan for Echuca Township, date 5th March 1855, from the Surveyor General Office. Melbourne March 5th 1855 Plan drawn by P Chauncey. Hand written- This plan is now a Port for the South Australian Steamer Trade - when Hopwood settled here/ it was only a wild bush - he is now throwing a bridge/ at his own cost across this river 200yards wide. signed by Henry Hopwood. Typed on backing paper: Plan of the township of ECHUCA dated March 1855, One month before the first land sales / Autographed by Henry Hopwood in Oct 1955.

Story of the internees and pow's behind the barbed wire veil that was drawn around people deemed threats to Australia's security. Soft covered book. Front cover has 6 photos of internees with their id numbers. In middle is title. Authors name at bottom. Spine is brown coloured with title, author and photo of internee. Back cover has two photos, Group of adults and children and a soldier with gun and five men with hands in air. 266 pagesCaptured Lives Australia's Wartime Internment Campsaustralian internment camps, australian pow's, peter monteath, loveday internment camp

Early horse-drawn fire-fighting cart with hand pump at "Eilyer", Austin's property at Lake Bolac, circa 1910.lake bolac, "eilyer", fire-fighting equipment, austin

Photograph made by A.P. Winzenried as a possible illustration for, "Green Grows Our Garden." There was a severe flood in December 1934.2 copies colour print.. Copy of a newspaper article made by A.P. Winzenried. Caption reads, "Burnley Girls Take Ploughing Lessons. Winter tasks at the Burnley Horticultural School. Students trying their hands at the plough. New top soil had to be laid after the floods." 4 female students working with a horse drawn plough in the Orchard.Handwritten underneath, "R.Weber, E. Pearce, M. Younger, W. Wittakers. "The Sun" 12-6-35."a.p. winzenried, green grows our garden, ploughing lesson, female students, r.weber, e. pearce, m. younger, w. wittakers, orchard, 1934 flood, horse, working outside

This certificate, drawn in a very elegant hand, contains the biographical information of Wilfred Busse. It is assumed to be a funeral or memorial card. Born in Chiltern in 1898, Wilfred Clarence Busse was educted at Wesley College and then the University of Melbourne. He became a barrister and through his time at the University of Melbourne studied with future Chief Justice and Governor of Victoria Sir Henry Arthur Winneke (1908–1985), as well as spending time in the chanbers of Sir Leo Finn Bernard Cussen (1859-1933), who was a judge of the Supreme Court of Victoria. Busse also wrote two novels, 'The Blue Beyond' and 'The Golden Plague'. In 1931, 'The Golden Plague' was awarded the T. E. Rofe gold medal by the Henry Lawson Literary Society for its ''its vivid scenes of the Ovens River [gold] rushes, in the early [eighteen] fifties".Ivory rectangular certificate with rounded corners made of thick paper with inked writing and two small photographs mountedObverse: Wilfred Clarence Busse/ 1898 – 1960 / Barrister and Author / Born in Chiltern. Educated at Melbourne / University. Studied Law with former Governor / of Victoria Sir Henry Winneke. In 1928 / published his first novel, “The Blue Beyond”. / In 1930 published “The Golden Plague” for / Which he was awarded the Henry Lawson / Literary Society’s Gold Medal. / Wilfred Busse was a member of the Chiltern / Athenaeum. He valued the historical works / In the library. / wilfred busse, wilfred clarence busse, wilfred c. busse, busse, w.c. busse, "the golden plague: a romance of the early fifties.", "the blue beyond, henry lawson society, chiltern, chiltern athenaeum, chiltern athenaeum museum, sir henry arthur winneke, sir leo finn bernard cussen, funeral card, memorial card

The Buddhist monk Guangqia visited Karl Duldig’s studio on two consecutive days, in the company of the noted Chinese writer, Professor Yu Dafu, a friend of Karl’s. Karl made two portraits of the monk, the first depicting him sitting, and the second in a standing pose. The portraits were drawn using a Chinese brush and Indian ink. Surviving sketches in the Studio’s collection indicate that Karl thought about creating a life-size sculpture later on, but this was not realised. Guangqia added inscriptions in his own hand to both drawings and stamped them with a red seal. The seated drawing has an inscription in which he quoted from a Buddhist poem, ‘A Contented Mind’ by the scholar Lingfeng of Mt Tiantai. In the summer I went to visit the Austrian sculptor Duldig with Professor Yu Da Fu. My virtue is slight – I cannot accept your offerings and gifts; I am amply rewarded by the clouds and springs. Rather than a table laden with pearl-like rice, I prefer the wind and leaves falling on my bed. Sitting quietly on my meditation cushion Is sweeter than the wheat offered by a thousand families. The pity is that I am gradually growing old; My bitter journey is not worthy of your offerings. The second drawing has a quote from a Buddhist poem on the study of Chán (Zen) Buddhism, by the famed Chán master, Dàjiàn Huìnéng (638–713): The portrait, with its figure positioned on a scroll-like ground and inscription is reminiscent of traditional Zen Buddhist portraiture. In this school of portraiture, which stretched back to at least the thirteenth century, monks were depicted sitting or standing facing the viewer, and typically the monk added an autographic inscription to the portrait. The portraits were often passed from master to disciple, continuing the disciples’ journey of spiritual enlightenment and were revered for their association with remarkable or holy priests. The Buddhist monk, Guangqai who added his inscription and stamp to the drawings would most certainly have been aware of this tradition. It is likely that Karl was aware of this tradition, one of the points where the studio’s collections of art works from Singapore intersect with the earlier Viennese collections can be found in the Library where a catalogue of an exhibition, 'Ausstellung Ostasiatischer Malerie und Graphik' is held. The Viennese Friends of Asian Art and Culture and the Albertina Museum staged this exhibition of East Asian painting and graphic works in 1932. Such was the internationalism of Duldig’s education in Vienna, that adaption to a new environment and culture in the Straits Settlement was swift, and he was able to interpret the artistic traditions of the place, and make them his own. It is part of the strength of the collection, that in many cases contemporary supporting documentation for the works of art is available. In this case there is a photograph of the Monk with Yu Ta-fu, and Karl and Eva Duldig, outside the studio at the time the drawings were made. Ann Carew 2016The portraits of Guangqai have national and international aesthetic significance. The works of art demonstrate the artist’s skill in capturing the physical appearance and demeanour of his subject, and his ability to adapt his working methods to incorporate traditional Asian materials and cultural practices. The portrait is one of few examples in Melbourne of a central European modernist artists working in, and engaging with Asia, during this period and it is culturally and aesthetically significant for this reason. The portraits are also historically interesting in documenting the life and experiences of Karl Duldig in the Straits Settlement (Singapore). Ann Carew 2016Brush drawing in chinese ink on paper. Seated Buddhist Monk. Chinese calligraphy hand written in black ink. Two red stamps under calligraphy.Signed Karl Duldig in l.r. corner. Dated Singapore 1940 in l.l. corner.

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher

Soldiers’ Memorial Street scene with Coffee Palace formerly Castlemaine Hotel. Two people in a horse drawn wagon are driving away from the corner on the right hand side while a man dressed in a suit is walking toward the corner. A telegraph pole is behind the memorial and a decorate pole sits on the corner.Small sepia Street scene showing Soldiers Memorial, Coffee Palace building in the background. The Soldier's Memorial is surround by a timber fence with an ornate pole possible a flagpole in front of 2 timber seats. The weigh bridge can be seen behind the memorial and Infront of the Stawell Coffee Palace. Two people in a horse drawn and cart are driving away from the corner on the right hand side while a man dressed in a suit is walking toward the corner.Coffee Palace Stawellstawell ww1

Used by Mrs Jean Ashcroft (nee Beard) Probably worked by her in scotlandLinen centre with drawn thread worked in shape of squares with hand crochet border and scalloped edgingmanchester, table linen

Manuscript account of the history and operation of the Blackburn Cool Store and the Blue Moon Fruit Cooperative, by Ron Pearce.Map drawn by Arthur Schwerkolt in 1993 from memory assisted by survey map of 1902.blackburn cool store, blue moon fruit co-operative ltd., southern victoria pear packing company limited

From the estate of Jenny LangCream hand made silk petticoat. Silk shoulder straps with hand embroidery on panel across front, back and under arms. Drawn thread around underarm and down bodice as waist. letter 'M' embroidered on left of bodice. Skirt is gathered on both sides of waist. A Maltese lace panel stitched as hem.costume, female underwear

Black & white copy of a photograph of Pannam's Store on corner of Boronia & Canterbury Roads during late 1800s. Horse drawn carts on right hand store.pannam's store, canterbury road, vermont, boronia road, vermont

White tape lace on a card which is enclosed in a large illustrated envelope. The mid 19th century 'Renaissance Lace' is wound around cardboard which is in the large envelope. The lace depicts five petaled daisies with an eyelet on each side. The envelope is illustrated with drawings of snowdrops. It opens on the front with small snowdrops drawn around the square opening. On the right hand top corner there is a drawing of mountains with a village in the valley.'Snow-Bleach Embroidery' Man. in Switzerland. Guaranteed to retain its Snow-Whiteness. 'All Cotton' No. 83177 20yds E600handcrafts, lacemaking, documents, envelopes