Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with 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. 'Life world of the Longicorn beetle' 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. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.Information booklet about the economics of wool grwoing, produced by the Australian Wool Board.agriculture - industrial relations, australian wool board, woods, mr george

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Excerpt of George Russell's Manuscript Diary copied by William Lewis. George Russell, from Scotland joined his brother Philip in 1831 in Tasmania, and farmed there for five years under his supervision. He then followed John Batman's exploratory lead to Port Phillip in March 1836. George Russell later established Golf Hill Station at Shelford. These memoirs describe first visits by Europeans to Lal Lal falls (which weren't running) and Mt Buninyong. These records must have been sought out by the AHRS as Russell had died before the Society was established.

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Mrs Charlotte Drew was a long term resident of Canadian, an area of Ballarat East. She first arrived in Australia in Adelaide. She and her husband George, who was a carpenter, arrived in Ballarat in 1851, and in these reminiscences she recalls a very lively life.

non-fictionThe account of how Dora May Weaver was duped out of money by George Ravenweaver dora may, raven george, tunstall railway station

View of the settlement of Harmony Vale taken in 1913 with the guest house Kia Ora, built by George Barber in 1909, in the foreground. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke.The settlement of Harmony Vale 1913. The large home in foreground is the Guest House “Kia Ora” owned by George Barber on Lot 25 of the Village Settlement. The house above it to the left was Richardson’s house. The home of Jeanie who had left it when the picture was taken.The buildings furthest to the right of “Kia Ora” were the homestead of Isaac Jeeves of 1863 – 1871 the building furthest right with the black opening in it was the house with the tree fern floor. The flat ground above and left of Isaac’s pointed roof barn is where the creek changed its course in the 1934 flood and destroyed £4000 worth of the Rowse family’s tulip bulbs. Above the flat is Francis Matthew Child’s homestead, in the creek to the right of which can be seen the horizontal structure of the swing bridge to the sawmill of the Childs Bros which cannot be seen but in the forest to the right of the mill (bridge) can be seen a number of logs in the mill yard. The two cleared strips immediately behind Childs home were the Richardson’s original holdings and the house in the gully at the far side of the great clearing is that of the guest house “Glenrivers” belonging to W Lucas and his wife Catherine nee Child. The Richardson homestead “Harmony Vale” is behind the forest trees in the right centre. The picture gives a full view of how the settlement was cut into the centre of the great forest. george barber, kia ora, harmony vale, barber, jeanie richardson, richardson, child, matthew child, kia-ora guest house, guest house, glenrivers

Yields information abut the official opening of the Ballarat Electric tramway system and the people involved, including how they were dressed for the occasion. Note the American flag on the tramcar. Framed Black and white photograph of the opening of the Ballarat Tramway ESCo electric System. Ballarat Mayor Cr Barker under the guidance of Mr George Laurens drove the tram - No. 1. See Reg Item 4459 for the high quality digital scan. Frame - wood, gold and black lining, non reflective glass, with card back and white tape and a hanging string on the rear.trams, tramways, esco, ballarat, opening, first tram

Yields information about the Depot and how equipment was provided in the depot and some of the tramcars.Sixteen Digital images taken by George Coop during the period 1968 - 1970, of SEC trams at the Depot and workshops in Wendouree Parade. .1 - 36 in depot with chain block, chains, jacks and other equipment in the view. .2 - view of the inspection pit on 4 road with the large jack in the pit. .3 - 39 on "0" road - photo has been "framed" with a blue line. .4 - 26 in the paint and wood shop area of the workshops. .5 - 43 in the depot. .6 - 42 and the 1 road pit. .7 - ditto, with a window cleaner - photo has been "framed" with a blue line. .8 - 35 and 36 .9 - roof top view - photo has been "framed" with a blue line. .10 - 27 and many spare wheels in the view, along with jacks. .11 41 and other trams showing the pit, spare parts and equipment - photo has been "framed" with a blue line. .12 18 at the front of the depot. .13 View of a 22E bogie with autumn leaves .14 - as for .4, - photo has been "framed" with a blue line. .15 - Scrubber car on "0" road and lots of autumn leaves. .16 - View of the depot view with 39 on "0" road and 18 on "3" road. trams, tramways, depot, workshops, scrubber tram, tram 36, tram 27, tram 41, tram 18, tram 39, scrubber, tram 39, tram 26, tram 43, tram 42, tram 35, tram 36

Demonstrates what can be lost and found on a tramcar - though odd given its location on the tram. Yields information about how coins were handled and carried in the 1950's.A lost and found item comprising 1 - blue plastic purse with heat pressing sides and a push button steel clip 2 - Australian half-penny, coin, dated 1949 with King George VI on rear 3 - Australian penny, coin, dated 1949 with King George VI on rear 4 - Australian sixpence coin, dated 1951 with King George VI on rear. Items found behind silt behind the side frame of tram 671, - advised by Neville Britton 20/6/2019. Items from the era when the tram would have been running in Melbourne.tram, trams, coins, lost and found

Yields information about the closure of the system and how the various small tasks, eg removal of tram stop signs were undertaken. The newspaper item details the name of the people.Newspaper clipping from The Courier, 7/9/1971 titled ""No longer needed" with a photo of two SEC workmen removing tram stop signs and painting poles on the Mt Pleasant route in Barkly St. Photo taken the previous day, following the closure of the route on Sunday. Has a photo of Mr. Ralph Bell and Mr George Wright. At corner with Cobden St. Has a Milk Bar in the background, advertising Streets Ice creek, Coca Cola, Briquettes and Vincent's Cold and Flu tablets. See Reg Item 3771 for a copy of the original photograph and a larger view of the scene. Second copy added 27/10/05. trams, tramways, mt pleasant, closure, tram stops, barkly st.

Demonstrates how the SEC used painted signs to advise passengers about fare payment arrangements.Folded metal and painted "Pay as you Enter" sign used on Ballarat single truckers until 1971. Black lettering on a yellow front with a Yellow back. Sign has been manufactured to fit the timber holders that were provided on each side of each door. Painted by the SEC Ballarat painter George Wright at the tram depot. (Advised by Bill Llewellyn to Richard Gilbert at the time of donation)trams, tramways, signs, sec, tramcars

BHS Collection56-page soft lime green colour cover booklet. Murray's guide to the Australian Gold Diggings. Where they are and how to get to them. Edited by George MacKaness. With letters from Settlers and Diggers telling how to work the diggings. Australian Historical Monographs Vol. VIII Printed by D.S.Ford, Sydney January 31, 1956. Reprint edition for Review Publications, Dubbo, NSW in 1976 Includes a Ballad from the Diggings Eragold, australia, diggings

LYDIA CHANCELLOR COLLECTION: Small Size Book 'Hubert Lee' or 'How a Boy may do good' Small book, cover colour is royal blue with a gold motive in the centre with the title of the book. Pages are gold leaf. London Routledge and Co. 2 Farrington Stree. Printed by Woodfall and Kinder Angel Court, Skinner Street. Inscribed inside the cover: 'Special reward for Scripture Exercises. Presented to George W Hunter (???) at ther Wesleyan Sunday School Raywood Apr 2 / 15 ??? Sup.bendigo, history

The Herald on 10 August described the Festival offerings as: "Varied 10-Day Programme For Kew Arts Festival Opened last night, the Kew Arts Festival in the Recreation Hall, Wellington Street, provides an interesting and varied programme for the next 10 days. Today at 8.15 p.m. Mr George Bell and Mr Colin Badger will have a public discussion on "What Is Modern Art?" The Vice-chancellor of the Melbourne University of Melbourne (Mr JDG Medley) will preside. Tomorrow at 10.30 a.m. Junior students of the Methodist Ladies College, directed by Dorothy Dwyer. will show how they learn to speak and move on the stage, and will present three short plays. Tomorrow night Elise Steele and Violet Ewart (violin and piano) Beryl Batten (songs) and Edith Parnell (accompanist) will give a concert. Paintings and other works of art will be on show from 2.30 to 5.30 p.m. on Sunday. On Monday night. Mr Colin Badger will speak on "Dead Wood and Green Shoot: Australian Literature Today" and on Tuesday night there will be "Ballet in Story and Action"— the story told by Norman Macgeorge, with Joan Burnett as ballerina and Fred Manners-Sutton at the piano. Wednesday night will have an illustrated lecture "Contemporary Art Education." by John Bechervaise. Remaining nights will be taken up with a performance of Somerset Maugham's "The Circle" presented by the Little Theatre, a youth concert, and another concert with songs and piano. On Saturday morning, August 18, there will be a special concert for young people. The festival will end on Sunday week with a chamber music programme in the afternoon."Important local arts festival initiated during the Second World War and continuing till the early 1950s. The souvenir programmes produced for successive festivals are historically and artistically significant records of visual and performing arts practice in Melbourne during this period.11 page souvenir program for the Kew Arts Festival, held in the Recreation Hall, Wellington Street, Kew from the 9th to the 19th August 1945. The content of the program can be viewed through the image carousel.kew arts festival - 1945, visual arts - kew (vic), performing arts - kew (vic)

1823-1923.MR. JAMES VENN MORGAN. "FATHER OF" KEW."In a Village in Somersetshire in England on February 21, 1823, a son was born to George and Sarah Morgan. The child was so delicate that his parents feared that he would not live. How little ground the parents parents had for their fears may be judged from the fact that the boy, christened James Venn Morgan is still alive and hale. He is able to exhibit with pride the paper with its faded ink on which a clergyman wrote the certificate of his baptism almost 100 years ago. But for some slight infirmities of sight and hearing, Mr. Morgan, who is within six weeks of completing the 100th year of his life, is in good health, and is well able to attend to his business affairs. His immediate cause for regret is that he is not now able to do a day's work in his garden, as he was 12 months ago. After spending his early life in England, where he learned his trade as shoemaker, Mr Morgan came to Australia in April, 1851. He carried letters of introduction to Mr. Tripp, a solicitor, of Melbourne, who strongly recommended him to begin business as a shoemaker, and accordingly he opened a shop at the corner of Swanston and Bourke streets, where the Leviathan Stores now stand, and was not long in working up a good connection. Among his customers at that time Mr. Morgan recalls Mr. Justice A'Beckett and many leading men in law and medicine of the day. Then the news was flashed through Melbourne of the discovery of gold at Ballarat. Nothing can give a clearer idea of the excitement this news caused in Melbourne than that Mr. Morgan, who was a member of one of the first parties to leave for the diggings, left uncompleted in his workshop one of a pair of riding boots he was making for Mr. J. B. Weir. As the purchase of suitable clothing would have taken time, he set out to make his fortune wearing a top hat. At Ballarat he stayed for five or six weeks, and returned to Melbourne with 10oz. of gold. He remained in the city long enough to finish the second of the two riding boots, and then, with three companions, set out for Chewton, near Castlemaine. Here fortune smiled. The party tried their luck in an abandoned shaft, and in two weeks returned to Melbourne again after having won 35lb. weight of gold. How Kew Was Born. Mr Morgan was content with his success, and induced his partners to invest their money with him in land. After obtaining the advice of a friend, the party negotiated with Mr Samuel Watts, of Collngwood, who had recently purchased land from the Crown, and from him they took over at £15 an acre about 32 acres of land in the district that is now known as Kew. This land extended from where the Kew Post-office now stands to the locality of the Boroondara Cemetery. At that time there was not a house in the district, and there was a fairly large population of aborigines, but no white men. Here it was that Mr Morgan decided to settle, and, after having had the land surveyed, the partners apportioned it by drawing straws for the four sections into which it had been divided. One of them sold his holding later in the year for £100 an acre, and was sorry for it afterwards. In 1853 Mr. Morgan built the first house in Kew, and this house is the one in which he still resides. Here with his wife, he settled down to market gardening and dairying. He tells with a laugh how he was paid 1/ a lb for the first potatoes he grew, and 1/ a quart for milk. So successful was the new venture that he induced his father and other members of the family to come out to Australia to assist him. How different Kew of those days was from the Kew of to-day will be understood from Mr. Morgan's statement that for weeks at a time they never saw a a white face other than those of the family. The blacks, he says, although very noisy, were entirely friendly. Gradually the district became settled, Mr. Morgan parted with a portion of his holding, and subdivided and built on the remainder which he still retains. In 1884 he found himself in a position to retire from active business. Youth in Old Age. In Mr Morgan's garden, which is a large, one trees which he and his father planted more than 60 years ago are still bearing heavy crops of apples. Mr. Morgan has been a widower since 1915. He has three daughters all of whom are married, and numerous grandchildren and great-grandchildren. One of the great-grand children reccntly informed Mr. Morgan that he was about to be married. Perhaps the most striking characteristic of Mr. Morgan to-day is his activity. Not only does he move about with surprising alacrity, but is able to go into the streets and attend to his business affairs with but little fatigue The Argus, 17 January 1923, p.12.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A group portrait on the occasion of the 100th birthday of James Venn Morgan in 1923. Dorothy Rogers used this photograph in 'A History of Kew' (1973). It faces page 17. In the book, the caption reads "JAMES VENN MORGAN'S 100TH BIRTHDAY ANNIVERSARY. The party was held at 'Morganville'. Mr Morgan is shown with a group of descendants."James Morgans 100th Birthday Party. james venn morgan, kew, model dairy, dorothy rogers

1957, 36, city of heidelberg repertory group, heidelberg theatre company inc, directed by george tanner

This publication is a collection of reminiscences in Mont Albert including the Hamilton Street Shopping Centre, the trains, how the author spent his time after school, and games played during the war.This publication is a collection of reminiscences in Mont Albert including the Hamilton Street Shopping centre, the trains, how the author spent his time after school, and games played during the war.high street, mont albert, trafalgar street, hamilton street, zetland road, st. georges avenue, brehaut's engineering works, transport, horse-drawn vehicles, mont albert station, railway stations, inglisby road, whitehorse road, boot and bicycle repairer, mont albert shopping centre, (mr) - tarry, (mr) - anderson, hairdresser, grocer, (mr) - harrison, (mr) - murphy, fuel merchant, (mr) - salmon

This jacket appears to be part of the uniform of a junior officer of the 11th (North Devonshire) Regiment of Foot, a line infantry regiment of the British Army. Several companies of the regiment were stationed in Sydney and Hobart between 1845 and 1857. The jacket was acquired by Brighton Historical Society around 1971 as part of a collection of clothing belonging to the Ward Cole family of 'St Ninians', 10 Miller Street, Brighton. George Ward Cole was an early member of the Victorian Parliament and his family featured prominently in Melbourne Society in their time; the family lived at St Ninians from around 1841 until the early 1900s. It is not known who the jacket belonged to or how it came into the Ward Coles' possession. While George Ward Cole was a military man, his service was with the British Navy and during an earlier period than is indicated by this jacket (1807-1817).A red and green flocked cotton military jacket believed to be part of the uniform of the 11th (North Devonshire) Regiment of Foot. The jacket features a green high stand collar secured at the throat by three brass hook and eye closures. The red jacket bodice secures down the centre front with fourteen brass buttons and finishes approximately at the navel. The bottom line sits on the waistline at the sides and back, tapering lower to the naval at the centre front. The bottom line features two substantial brass hooks one on either side of the waist to secure the jacket to the pants. The shoulder line of the jacket is a neat tight fit on the true shoulder, with a slim fitting curved sleeve with gathered fullness at the shoulder. On each shoulder is a metallic corded epaulet with North Devon XI button and second button with floral motif. At the base of the sleeve is a green cuff like detail with a curved elongated point towards the elbow. At the base of each sleeve is a further two brass regiment buttons. The cream woolen jacket lining is lightly quilted over the breast.st ninians, george ward cole, brighton, military, british army, devonshire regiment, north devonshire regiment of foot

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This notebook contains information on how to calculate and enlarge a small sample pattern into a larger textile. It is a hand-written notebook that was passed from a master to an apprentice. This notebook is written in German and belonged to George Snchabel and was given to Nino Corda, who eventually donated it to the National Wool Museum. Nino only spoke basic German so many of the passages of writing were lost to him, regardless the illustrations and little bits of German he did know made this a useful resource which was often looked upon for inspiration and guidance.The notebook has a black cover on both the front and back with no writing. The spine is in bad condition and is being held together by three strips of tape. Internally, the pages have faded to a pale peach colour with a background blue square pattern. The notebook is completed with black ink used for writing and illustration. Occasional red ink is used for highlighting and illustration.textile calculations, textile design

'The Years Between' is an oral history of RVIB 1866 - 1991. It was put together by Allan Nuske and Jamie Kelly and consists of narration and excerpts of oral histories from past staff/students. Through historical data and personal recollections, former students tell the story of how the institution developed under the changing approaches of teachers and other staff, the need to keep fundraising, being shipped to Olinda during the war, 153 MP3 audio recordings comprising a file for each section of the bookMany thanks to Alan Nuske, Betty Vinters, Jon Lock, Ross Johnstone, Simon von Saldern, Leo Hartman, Elaine Leahy, Mary Adams, Ben Quin, Kasia Graphics, Art Attack, June Treadwell, Jamie Kelly, Neville Kerr, Dorothy Hamilton, family and friends of Alan Nuske, Pam McAleese and Julie Brain.royal victorian institute for the blind, allan nuske, jamie kelly, alice mcclelland, john murphy, harry worland, dorothy hamilton, hugh jeffrey, violet arnett, ian cooper, harry finlayson, elaine leahy, joan neich, reuban ryan, neville kerr, e.e. (ted) petersen, neil westh, norman rees, charlie bradley, ethel sutcliffe, esme dunnell, margaret fialides, carol baxter, ben quin, graeme mcgowan, margaret bull, jim smith, dick sutcliffe, ray smart, george findlay, edward (ted) hanlon, david blyth, martin stewart, len stevens, oral history