Document regarding the abandonment of tramways in Ballarat and Bendigo. Presented to State Parliament Sept. 1970 by the MInister for Fuel and Power, the Hon J C M Balfour MLA. Outlines the losses incurred by the SEC, replacement public transport system, the worn out nature of the system, the gifting of one Bendigo tramcar to the AETM, costs of track repairs and new trramcars, tenders for replacement bus services, retrenchment payments to staff, reconstruction of existing roads following removal of the tracks, and town planning and traffic aspects. Includes a photo of a bus and interior seating. A graph from 1934 to 1970 shows the service miles, passengers carried, average fare, expenditure, revenue and loss, along with dates of major fare revisions.Yields information about the 1970 proposal to close Ballarat and Bendigo tramway systems which was successful despite previous attempts when the Bolte Governments did not have the numbers in the upper house.Document 16 Quarto sheets, duplicated and one sheet with a folded colour graph.In ink on front sheet "D/T/S"tramways, ballarat, bendigo, abandonment, closure, parliament

Emma Thomas Collection: Items were owned by Emma Courtis, nee Thomas. Family lived in Hamelin St, White Hills. Emma's family include Elizabeth Penrose (mother), Solomon Thomas (father), and Richard Courtis, a blacksmith (her husband).Black rectangular box with mother of pearl inlay on lid. Keyhole located on one side. Box interior lined with patterned paper. Light engravings on lid show leaf motifs.mother of pearl, emma thomas, emma courtis, jewellery box

By 1904 Mr E R McMartin was the manager and licensee of the Shamrock Hotel including the Shamrock Tobacconist that had previously been owned and run by Mr Karl Van Damme.Dark brown pipe cover in shape of pipe, leather exterior and textured cream fabric interior, with hinge at smoke exit end of pipe and small metal latch at bottom of pipe tube. Red sticker on inside of cover reads "Shamrock tobacco Store E.R. McMartir Bendigo" in black ink Pipe made of plastic mouthpiece joined halfway along tube to wooden tube and smoke outlet by a fancy metal (Hallmarked as silver in Chester, England 1912)surround. Ash contained in smoke outlet/exit. Top of smoke outlet has an approximately 1.5cm crack.tools, smokers acoutrement

A Façade of Sailor's Gully Hotel, converted to Sailor's Gully Galleries B Interior of Sailor's Gully Galleries ( formerly Sailor's Gully Hotel)

Colour photograph of stained windows (interior view) in a bay window setting. Two stained windows to the left and right are the same design, a smaller stained window of a different design is in the centre of them and a small round stained window with a woman (waist view up) above. Partial views of other windows.

Colour photo of partial interior bathroom showing marble looking bath, basin with silver tap fittings, white tiled wall behind bath/basin. Wood panelling above & to the sides of bath, basin and parquetry floor.

Colour photo of an interior bathroom showing marble looking basin to the left and marble looking bath with overhead shower, silver tap fittings on basin and bath/shower.

Colour photographs X 2 (onle large & one smaller) of an interior room showing a desk, chair with 2 windows either side with lace curtains & tied back red curtains, and a possible view into another room from behind the chair.

Five drawings of exterior and interior of Specimen Cottage prepared by Frontier Heritage date 10/06/2015.buildings, residential, specimen cottage, bendigo

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) part of interior wall during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) part of interior wall during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) Interior Walls during the re-construction to the Ulumbarra Theatre.photograph, building

BHS COLLECTION: KAY MACGREGOR BENDIGO JAIL DURING RE-CONSTRUCTION Colour Photo Part of gaol (Jail) interior of wall and guard tower during the re-construction to the Ulumbarra Theatre.photograph, building

Six pages coloured booklet titled: Discover and explore the history of the magnificent Fortuna Villa. Your tour guide to the history of Fortuna Villa. On the front cover a sepia coloured photograph of Fortuna Villa and five small coloured photographs of the interior and exterior. On the back cover a Fortuna villa chronology.buildings, house, fortuna villa

Sydney Sunday Herald article titled "Two old trams can make a home" features of 25/6/1950, page 2 of 16 has article on re-using Sydney tram cars as the basis for houses, includes 3 photos, mentions housing shortage, page 8 has feature on start of NSW Rail construction (1850) and photo of NSW steam locos includes many as and articles of the time. Record updated and image added 21/9/2013.p2 - "No 'O' class have been taken out of service / N,K or L/P have been sold or burnt so far" notes on photos - interior/exterior - "Steam Trail Cars". p8 "Saw 5802 go through Blacktown Sunday 28-6-1950".trams, tramways, sydney trams, houses, tramcar disposals, nswgr

32 page periodical featuring photos and article on recovery of ESCo tram No. 12 in 1991. House magazine of VicRoads, colour interior photos of No. 12 on cover and on pages 18 and 19, further colour photos of and article. Summer 1991 Edition 268.4 - copy made for No. 12 display - 3/99. Two copies from Warren Doubleday's personal collection added 11/6/2010 and record revised.trams, tramways, tram recovery, btps, ballarat trams, recovery, esco

Interior of Scotsburn School, c 1930Record of school in 1930Laser copy of sepia photo of interior of Scotsburn School c 1930, showing school furniturescotsburn, school, interior, furniture

Example of late 19th Century home built by Irving and Glover for Abraham Baxter, a well known engineer, railway contractor and horse racing enthusiast. The estate consisted of about 300 acres, taking in the northern and eastern faces of Green Hill. The family lived at "Mt. Helen" until 1908. The house has been restored in recent in recent years.The fine brick house is an example of late 19th century home built and occupied by the Baxter family until 1908.Colour photograph of the interior hallway of "Mount Helen" built c.1888 by Irving and Glover"Mt. Helen". built c. 1888building, green hill, irving and glover, abraham baxter, interior

Record of early industryColoured photograph (and b/w print) of detail, interior of Boiler House, Whykes & Sons' Slaughter House and yards, showing knocking box -crush, functioned for Whykes Butchers from 1863-1994, situated at Slaughterhouse Rd. Durham Leadbuninyong, whykes, butchers, slaughterhouse, industry, farming, boiler house, knocking box

Record of early industryColoured photograph (and b/w print) of detail, interior of Boiler House, Whykes & Sons' Slaughter House and yards, showing railing and washing area for carcasses, functioned for Whykes Butchers from 1863-1994, situated at Slaughterhouse Rd. Durham Leadbuninyong, whykes, butchers, slaughterhouse, industry, farming, boiler house, washing area

Merryweather manual fire engine, acquired by Buninyong Fire Brigade in 1882, in the last years of its working life. Engine now restored and homed in Buninyong Fire Station.Coloured photograph (and b/w print) of detail, interior of Boiler House, Whykes & Sons' Slaughter House and yards, showing railing and washing area for carcasses, functioned for Whykes Butchers from 1863-1994, situated at Slaughterhouse Rd. Durham Leadbuninyong, fire brigade, fire engine, merryweather, horse

INdustryWhykes Slaughterhouse, Slaughterhouse Lane, Durham Lead, interior and entrance to chiller room, operated until 1994. On left Peter Whykes (4th generation) and Frank Ritchie on right. Colour and b/w copiesbuninyong, whykes, slaughterhouse, durham lead, butchers

IndustryWhykes Slaughterhouse, Slaughterhouse Lane, Durham Lead, Whykes Slaughterhouse, Durham Lead, interior of boiler house, corner view. Colour and b/w copiesbuninyong, whykes, slaughterhouse, durham lead, butchers, boiler house

Building historyB/W photo interior of Buninyong Court House, prior to restoration, Feb. 1986, with Shire Secretary Alan Helyer discussing plans with Deputy Engineer Bob Wiseman.Identification on reverse.buninyong, courthouse, sgire council

detail of historic buildingB/W Photograph, Lal Lal Blast Furnace, interior, in 1977buninyong, lal lal, blast furnace

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.