The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Hot pink chiffon tiered evening dress.Label: Hartnell of Melbournehartnell of melbourne, women's clothing, australian fashion - 1960s, evening dresses

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Black velvet capelet with pale blue lining held at the neck with a gilt metal clasp.women's clothing, fashion -- 1900s, evening wear, outerwear, capelets, fashion design

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Very fine, lightweight silk two-piece pink and white striped dress comprising a long skirt and a short fitted jacket. The jacket is edged with cream lace at the collar and front. On examination, the lace, while appearing to be in a later style has been judged to be of the period.There is a small faded label on the rear collar of the dress, on which is hand printed the name of the dressmaker. The name has been variously interpreted as reading Miss Gibbens, Miss Gibbons, or Miss Gibbuis. women's clothing, day dresses, australian fashion - 1900s

This model was part of a panorama of 11 pieces designed from drawings in an 1892 almanac Printed by Port Fairy Gazette. The panorama was used in the History Society rooms in Bank St Port Fairy on an extended mantel piece, before the Museum and Archives were relocated to Gipps Street Port FairyThis model was made as a part of an eleven piece panorama of the streetscape of Port Fairy in 1892. By a local resident of the town.Small hand made 3D model of a shop front from the 1892 AlmanacAlbion House 1854 Hutton Bros.sackville street, model, mewkill, almanac, albion house, bank street

"AKJA" sled. These sleds were designed in Finland for transporting a person or goods on snowy or icy surfaces. At Falls Creek they were used by the Ski Patrol to evacuate an injured skier or snowboarder to the medical centre. They could be attached to the back of a snowmobile or pulled by two patrollers holding the attached metal arms.A stretcher used in mountain rescue. It is shaped like an elongated boat-like pan, usually made of aluminum or fiberglass with vaulted ends. Each end can be attached to forked extending handles allowing it to be easily pulled across the snow.falls creek ski patrol, ski rescue

Bendigo Art Gallery was founded in 1887 and has over the years undergone extensive building and renovation programs in recent years adding a new contemporary wing, storage areas, and a new entrance and gallery shop. This marquette was created to commemorate the new architecturally designed wing which was completed in 2014. Small folded anodised steel sculpture to commemorate the expansion of the Bendigo Art Gallery.bendigo art gallery / expansion 2014bendigo art gallery, city of greater bendigo tourism

Kith Kiln was the site of a short lived charcoal kiln designed to provide an alternative to petrol during World War 11 when there was a fuel shortage. Local history has been told by Genseric (Bill) Parker and the reflections collected by Friends of Kirth Kiln (under the auspices of Parks Victoria).The booklet is significant because it tells the story of the development of the Kirth Kiln Park in Gembrook, from the Friends perspective.The park is not only historical but is also of great environmental significance and it forms part of community life in the district. Green soft cover booklet of 128 pages. The front cover has 2 photos; the top one of the caretakers compound with Forest Commission huts and the bottom photo is of the Lake, taken from the dam on Tomahawk Creek. The back cover has a diagram of the Kiln logo.Fireside Stories with Genseric (Bill) Parker and Lorna Parker. Reflections collected by Friends of Kirth Kiln.kirth kiln, genseric parker, parks victoria, gembrook, charcoal burner

This folder contains 6 items about this educational institution: 1/Undated colour slides showing various angles of two different building facades of Monash Caulfield Campus. 2/Article 'Martens Matters' re launch of exhibition of covesr of OASE 33 Magazine by Designer Karel Martens. Date noted as 01/04/2011 in 'The Age'. 3/Collection of 6 separate cards, all Priority Development Panel Submissions, Design Visualization, dated May 2006 (Architectural drafts) dated 31/03/2006 plus 2 identical cards dated 01/05/2006 - all drawings and one plan for NHArchitecture. 4/Collection of 4 colour separate cards, all Priority Development Panel Submissions, Design Visualization for Architect Wojciech Huszek of existing buildingsdated 31/03/2006. 5/Collection of 4 colour separate cards all Priority Development Panel Submissions, Design Visualization of existing buildings by photographer Andrius Lipsys, dated March 2006. (No architect stated.) 6/Article 'Uni rank sign of the Times' from Glen Eira Port Phillip Leader dated 12/03/2013 concerning Monash University’s world ranking in 100 best universities.nharchitecture, altoon and porter (master planner and urban designer ), huczek wojciech (architect), lipsys andrius (photographer), martens karel, station square development, campus map, derby lane, princess lane, post office place, caulfield station, sir john monash drive, derby road, the hub, the mat, post office square, station square, zagame’s hotel, dandenong road, oase 33, art and design building, monash university, caulfield campus, caulfield east, universities, tertiary education

Charles Platt was born in New York in 1861 and died in 1933. He studied art at the National Academy of Design. In 1880, Charles went to Paris to study landscape painting and, while there, he travelled to Italy with his brother. Though he was influenced by Italian detailing, his designs were not copies of Italian gardens He was known as an architect and illustrator not as a garden designer. In 1880, he trained as an etcher with Stephen Parrish in Gloucester, Massachusetts. He also trained at the National Academy of Design and the Art Students League in New York and later in Paris with Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian. Charles exhibited his paintings and etchings and gained his first audience in Paris Salon of 1885. Betweem 1880 – 1890 , he made hundreds of etchings of architecture and landscapes. In 1900, Charles received a bronze medal at the Paris Exposition Universelle. In 1907 he designed a townhouse for Sara Delano Roosevelt on East 65th Street in New York. Eleanor Roosevelt called Charles A. Platt "an architect of great taste" who with the townhouse had "made the most of every inch of space." and in 1918, he de­si­gned the Freer Art Gal­lery in Wa­shing­ton. Book, Hard brown Cover. Title on the spine "The work of Charles A. Platt". Manufactural details on spine. Page no. 181. Black & white plates and plans. Stamped on page 43, 93, 123, 135, 161, 171"Picton Hopkins & Sons PTY.LTD"architecture design, domestic architecture, designs and plans, landscape gardening

Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan

The Epstein, Macintosh, Oxford vaporizer (EMO) was designed in 1952 by Dr H. G. Epstein and Sir Robert Macintosh of the Nuffield Department of Anaesthetics at the University of Oxford, with the aid of their technician, Mr Richard Salt. It was essentially a refinement of their earlier Oxford vaporizer and designed specifically to deliver ether in known concentrations, irrespective of the temperature of the ether. Robert Macintosh was born at Timaru New Zealand in 1897. In December 1915 he travelled to Britain and was commissioned in the Royal Scots Fusiliers, soon transferring to the Royal Flying Corps. He was shot down behind enemy lines on 26 May 1917 and taken prisoner, escaping several times. When the war ended he returned to medical school and qualified in 1924 as MRCS LRCP. Macintosh's initial intention was to be a surgeon, but soon after qualifying he developed an interest in the field of anaesthesia. Macintosh became the first professor of anaesthetics at Oxford although the university was at first against the appointment. He recruited the scientists Dr Kurt Mendelssohn and Dr H G Epstein and together they designed and built the Oxford vaporiser, a simple, portable, and accurate means of delivering varying concentrations of ether which was to see service in the second world war. He was knighted in 1955 and died at Oxford in 1989.The apparatus is a round, barrel style object with three small rubber feet and a moulded handle over the top. It consists of a vaporising chamber, wick, ether level indicator, temperature compensating value, air bypass chamber and mixing chamber. Manufacturer's label on reverse: EMO, Longworth Scientific Inst. Co. Ltd. England. Serial No. 5878macintosh, epstein, oxford, vaporiser, nuffield, ether

The Honor Roll and Shrine in the Surrey Gardens were opened on Sunday 7 April 1918, prior to the cessation of fighting. Mrs Charles H D Steele (MS: Sarah Margaret Russell), president of the local Patriotic League, is credited with the idea of building The Shrine as a fitting memorial to the soldiers of the district. The Surrey Hills Progress Association coordinated raising funds from local residents. John Kendrick Blogg carved the beautiful honor roll in Indian teak and Australian white mahogany and the design of The Shrine was by architectural firm Gawler & Drummond. John Stevens Gawler was a partner in the firm, lived locally and also enlisted. Although he may have been overseas during some of the design process he is often credited with the design. Both men donated their services. The 2 cannons in the gardens were acquired by Mr Arthur Brookes in 1901 to commemorate the end of the Boer War. He was popularly known as 'Empire Brooks' and the cannons as 'Brooks' Babies'. They were originally placed in the grounds of the Guildford Road Recreation Oval. Arthur Brooks was an active community member and one of the founding members of the Surrey Hills Progress Association. Original photo was contained in a booklet printed by Camberwell Council in 1933.This is one of the earliest known photos of 3 elements important in designating the Surrey Gardens as one of the City of Boroondara's heritage gardens, now protected by a heritage overlay. The Shrine was one of the first WW1 memorials to be built in Australia and possibly the first in Victoria. It was unveiled prior to the end of hostilities and was built entirely through local community effort. The design of The Shrine, reflective of domestic architecture, is unusual. Its Honor Roll is also a noted example of sculptor John Kendrick Blogg's work and valued especially for its incorporation of Australian motifs, wattle blossom and gum leaves. The boomerang over the full width of the monument was said to be symbolic of both those who did and did not return. Black and white photo of part of the Surrey Gardens, located between Union Road and Norfolk Road, Surrey Hills. It shows The Shrine, the cannons installed to commemorate the end of the Boer War and the Memorial Cross. Taken from within the park looking east. surrey gardens, shrine of remembrance, monuments and memorials, boer war, mr john kendrick blogg, mr arthur brooks, mrs charles steele, mrs sarah steele, miss sarah margaret russell, cannons, mr john gawler

Their polished wood finish appears to be original to their date of manufacture during the 1960s‐70s. They were located in the head keeper’s and assistant keepers’ quarters, where their use for office purposes also may have crossed over to a domestic function. In the post‐war years the Commonwealth Lighthouse Service (CLS) introduced modern, low‐cost furnishings to lightstations. Most notably, it commissioned a number of light, compact and functional items in bulk from émigré designer, Steven Kalmar (1909‐ 1989), who played a significant role in popularising modernist design concepts in Australia and drew his ideas from Scandinavian and American design trends. Born in Hungary, he trained as an architect and his contemporary affordable furnishings were especially suitable for the open‐plan houses being built in Australia’s new post‐war suburbs. It is not known whether the bookcases bear the Kalmar label, but the design, particularly the legs and bar bracing, is a signature style that is associated with his Sydney‐based firm, Kalmar Interiors. The CLS supplied the same bookshelves to a number of other lightstations, including Point Hicks, Cape Otway and Gabo Island, as well as other types of furnishings such as tables and cabinets. The bookcases have first level contributory significance as examples of the modernist furnishings that the Sydney‐based firm, Kalmar Interiors supplied to the Commonwealth Lighthouse Service in the post‐war years.The bookcases stand at about bench level and are almost square in dimension. They have two adjustable shelves as well as the base shelf and stand on legs supported by a single stretcher with a polished wood finish.

A photo of a model produced by Hudson and Wardrop, Architects, who had won the contest for the design of the Shrine. This photo shows their model of the Shrine as seen from the North. It is with their Brochure on the First Premiated Design (see 01208) which goes into detail of the plans for Rock of Remembrance, the eye of light, the porticos, the tympanums, the inner Shine, and materials it will use, etc. It says: 'The theme is Remembrance, and the doing is indicative of Remembrance. It is Australian in feeling, in that is stands fo rate highest of Australian ideals - ideals we fought for - Patriotism, Sacrifice, Justice and Freedom.' Messrs Hudson and Wardrop were also returned servicemen. This photo could have been used to inform the public of the plans whilst fundraising for the building project. In 1928 the Governor asked for the public to contribute approx £100,000 towards the project, while the State Government had already guaranteed £80,000. Item was in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history. (01181 - 01190, 01206 - 01211).A record of the planning for the Shrine of Remembrance with details from the architects who had won the design contest. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190, 01206 - 01211).Black and white photo of the architects model of the Shrine of Remembrance.memorial, shrine of remembrance

Image 4 Harcourt House built 1946 Designed and built by John Harcourt Mud brick extension added 1970 Designed by John Pizzey The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcharcourt house, houses, john harcourt, john pizzey, mud brick construction, alistair knox collection

Possibly Portland Town Council. Thomas Must, a wealthy Sydney merchant arrived in Portland in 1845. In 1855 prospect was built for Must to a design by local architect George Mathewson. The two storey home was built in expansive grounds with sweeping views of Portland Bay and the township. The stuccoed house is of Regency/Italianate style with a single storey verandah and single storey kitchen wing. In 1878 the original posted verandah was replaced by new verandah and a conservatory to a design of architect Daniel Nicholson. Nicholson had also been responsible for the design of the Assembly Rooms at the London Inn. Thomas Must was active in the Portland Community. He was a Trustee of the Port Philip Savings Bank, a Justice of the Peace, Treasurer of St. Peters Church at Bridgewater and the first Chairman of the Portland Borough Council. Prospect was Thomas Must’s home until his death in 1905. The building has been considerably altered over the years and much of the original Italianate character has been lost. Subsequent owners include B. Cunningham, G.S. Beresford (who changed the property’s name to Waterford), and long-term Liberal Senator Sir Magnus Cormack. Cormack was President of the Senate from 1971 to 1974. In 1976 the Prospect became an aged accommodation centre.Wooden Frame - light brown. Gold inner frame. Fawn mount. Man with long white beard and hair facing right wearing dark jacket. Front: (no inscriptions) Back: (no inscriptions)photography, opalotype, thomas must

Long term loan from Neurological Society of Australasia Museum of Neurosurgical Instruments,South Australia. Catalogue with Historical Commentaries Second Edition January 2006 Copy located at RACS MuseumTrumble's Skull Plough or craniotome devised by Hugh Trumble (1864-1962 ) CRANIOTOME. This craniotome was designed by Hugh Trumble (1894-1962) of the Alfred Hospital, Melbourne, one of the eight founders of the Neurosurgical Society of Australasia. It was a modification of an earlier instrument, similar in principle but less versatile, designed by Sir Henry Souttar(l875 - 1964), a very inventive surgeon who worked in the London Hospital. Souttar also used a motor-powered circular saw when necessary. He cut very large circular bone flaps, exposing the occipital lobes and posterior fossa in a few minutes. Trumble reported the use of this craniotome as "an expeditious method of cutting bone flaps" and in the designer's hands this claim was certainly justified. To use the crauiotome, it was necessary to hold the skull rigidly, and this was done by embedding the head in a plaster mould. Three holes were drilled in the skull to fix the pin of the craniotome, and the flap was then cut in a series of three arcs, after which the flap was elevated with levers until its base fractured. The 'Trumbolian" instrumentation was used in the Alfred Hospital by a number of Trumble's pupils. The craniotome is made of steel, not plated and apparently not stainless. It is believed that Trumble made his craniotomes himself, in a backyard workshop.

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO NEWSPAPER ARTICLES 3858.9a Young boy holding a board of mosaic tiles probably at a workshop. Article begins: A unique mosaic pavement is to become part of the tapestry of the restored Rosalind Park. Students from three of Bendigo's central primary schools are taking part in the project. Photo Caption reads ART at work: preparing to create the unique mosaic pavement in Bendigo's Rosaling Park is eight year old St Killians Primary School student, David Nicholds. 3858.9b A newspaper coloured photo from the poppet head of two young people standing on and looking down on the mosaic at the lookout. Caption reads: Passing students take a keen interest in the new-look base of the Rosaling Park poppet head. The mosaic was created through an Art Bendigo project. LEAP workers helped install the five sections using stone tiles made by local primary school students. Depicting the saddle reef formations in the area the work has been designed and created by Bendigo artise Maery Hall. Picture: Peter Hyett. 3858.9c A photo from the poppet head lookout looking down at a worker with a broom, sweeping the mosaic. 3858.9d Two women crouching on the ground viewing the work done on the mosaic. One woman holds books and papers; in the far background over the car-park is the Sacred Heart Cathedral, the Bendigo Art Gallery and the Capital Theatre. 3858.9e Newspaper article along with coloured photo of the poppet head lookout in Bendigo's Rosalind Park. In the foreground are two young people arranging the mosaics. The article begins: Mosaic pavements began taking shape at the base of the Rosaling Park poppet head lookout yesterday. The pavement will cover about 130 square metres, in five sections, and have been designed as a memorial to Bendigo's mining history and traditions. 3858.9f Newspaper article July 29, 1997 entitled 'Bendigo Paving the Way' - photo of artist Maery Gabriel at the official opening of the heritage mosaic. Pictures: Tania Bond. Photo of Maery taken from the poppet head looking down on the mosaic. Als a smaller photo with details of the mosaic design. Opening paragraphs of the artical: Arts Bendigo and the City of Greater Bendigo are paving the way to an improved Rosalind Park with the official opening of the 'Bendigo Heritage Mosaic'. The mosaic is more than 100 square metres of decorated pavement sections surrounding the poppet head lookout at the park. The paving was designed by mosaic artist Mary Gabriel and depicts Bendigo's mining history and colour throughout.

This table spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This table spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register most valuable. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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 (VHR S417). 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. Unrestored table spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. In this case nearly all of the original plate has remained and spoon is in excellent condition. On the upper rear of the bowl is a plain heraldic shield. Visible makers marks are (1) WP&Co trademark and (2) Lazy 'B'. Three outlines, Rounded Square, Circle, and Diamond, are also evident but the internal details of these marks are unclear.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoons

No information has been found regarding this exhibition in Warrnambool. The card design indicates that the exhibition may have been in the 1950s. The Warrnambool Chamber of Commerce has been operating at various times in the 20th century and was formed by the local businesses to promote Warrnambool as a city for business initiatives, tourism and economic development. These tickets are of some interest as an example of the activities of the Warrnambool Chamber of Commerce in the mid 20th century. These are two identical tickets, with black printing on a green background on one side and blank on the other side. The edges of the cards are gold- tipped in a serrated pattern.‘The President and Committee of the Warrnambool Chamber of Commerce requests the pleasure of the company of ….. at the Made in Australia Exhibition at the Warrnambool Town Hall on Thursday Evening, October 22nd, E. M. Dempster, Organizer’. made in australia exhibition, warrnambool, warrnambool, warrnambool chamber of commerce, e dempster

This folder has been used to hold music sheets at St. John’s Presbyterian Church in Warrnambool. The folder would have been funded by the businesses advertising in the folder. St. John’s Presbyterian Church was designed by Andrew Kerr and opened for service in 1875. It was destroyed by fire in 1920 and rebuilt to a similar style. This folder is of interest as a memento of St. John’s Presbyterian Church in the mid 20th century. It also gives us information on some Warrnambool businesses at the time. This is a cardboard folder of four pages to hold music. It has space on the third page to write notes. The other three pages contain 21 advertisements for local Warrnambool businesses pasted on to the folder. The folder is blue and the printed material is in red and dark blue print on a light blue background. There are red and blue borders around each advertisement and some advertisements have illustrated material. The folder has two eyelets with metal edging for attaching the sheet music. st. john’s presbyterian church, warrnambool, history of warrnambool

Pise or Adobe Brick Cottage for Mr D. Sawer in Peter St., Eltham Design and drawings by J.M. Harcourt, Clay Nuneham, Eltham. The cottage at present day 22 Peter Street was built circa 1946. Also Drawing of planned carport and future extension for 22 Peter Street, Eltham22 peter street, building plans, clay nuneham, d. sawer, eltham, j.m. harcourt design, adobe house, j.m. harcourt designc.1946, pise house

.1 & .2 - Civil Engineering student practical work examples .3 - First year Engineering students' competition : design, built and tested specified braced truss. Testing usually done during Open Day. .4 - Thermodynamics laboratory colorimetry room. reproduced in the 1975 Handbook, p 90Images of students engaged in structural work. .1) Three people at a load frame with a roof tress element. .2) A male student at an electronic surveying instrument. .3) Several people around a test setup for a student made model truss. .4) Three male persons at an experimental setup involving a garbage bin.ballarat institute of advanced education, civil engineering, laboratory, open day, thermodynamics, lloyd payne, alumni, trevor gourley

The scene on the postcard depicts the Spanish courtyard (or Cloisters) as a space within the Mission to Seafarers Melbourne. The view to the courtyard is from the Celia Little Room. The Spanish mission design was inspired by a need to make the 1917 Mission complex at Flinders st extension distinctive and easily found. (ref Church and Sailor journal) This scene shows the way in which the courtyard leads into the Chapel and that it is a large space for varied uses.Sepia toned scene on front of postcard depicting "The Cloisters" or Spanish Courtyard at Mission to Seafarers Melbourne. There is ivy growing up the pillar to the right of the scene, tall plants in the garden bed in the corner of the courtyard and pots with plants placed between the archways to the rear of the photograph.Label on front of postcard: "No. 9 THE CLOISTERS, MISSIONS TO SEAMEN, MELBOURNE, VIC." Reverse of postcard: "POST CARD/A Real Photograph Produced in Australia" There is also a divided line down the centre of the reverse for writing a message.plants, cloisters, ivy, pillars, archways, seamen's mission, mission to seamen, mission to seafarers, st peter chapel, spanish courtyard, melbourne, flinders street, valentine's postcards, real photo series

Shows Susan Street, Brisbane Street and Bridge Street. Large open field in centre now site of Bunnings The factory in lower centre on Brisbane Street is the Sibbel Builders factory of Martin and Herman Sibbel who were ahead of their time with design and prefabricated frames and also built cabinetry in this factory.Digital file only; created from original colour positive slide transparencyeltham, streets, susan street, bridge street, brisbane street, bunnings, ses, state emergency service, herman sibbel, martin sibbel, sibbel builders

Originally a parish church, St Paul's became a cathedral in 1981 when Bendigo was declared a separate diocese. The church, designed by Robert A Love, was dedicated in 1868, with the bells being added in 1873 and the organ in 1883. It was closed in 2009 due to safety concerns and after extensive restoration and renovation was reopened in 2016.Green folder: centenary of St. Paul's Bendigo 1868-1968. On the front a black and white photograph ot the cathedral under the title "sentinel of faith". inside the folder newspaper articles relating to the celebration of the centenary.bendigo churches, st. paul's, centenary