Demonstrates the production method of the BTPS documents, yields information about the BTPS forms and methods and has a strong association with the author of the time.Original copies of the BTPS forms and documents used in printing copies for members. Prepared by Warren Doubleday at the time . Printed by a laser printer or a dot matrix printer and or photocopied. At the time, these were then photocopied to produce the final copies. .1 - Membership Renewal 1990-91 .2 - Proxy form for the 1992 AGM .3 - Membership application form 6/1991 .4 - Minutes of the BTPS 1991 AGM - 2 sheets .5 - Form for the purchase of the 21st anniversary video - Ballarat Tramway's with corrections - would have been reprinted. .6 - Minutes of the BTPS 1990 AGM - 2 sheets .7 - Minutes of the BTPS Co-Operative 1990 AGM .8 - BTPS Collection Policy May 1992 - 4 sheetstramways, trams, btps, forms, collection management, minutes

The 1958 edition of 'Quadrangle' was the first published as the new magazine of the Ballarat Junior Technical School. Formerly the Ballarat Junior Technical School occupied a few pages at the back of the Ballarat School of Mines Students' Magazine. In this year the Ballarat Junior Technical School's 'brother' school, Ballarat North Technical School, was publishing its own magazine called 'Green Acres'. Articles includeGrey/Blue soft covered magazine of 54 pages. Contents include: Past staff/students (Mr Whitla, Mr Hewitt, Mr Cowan, Mr Reeve, Mr Wilcock, Bullarto Camp Report, Bright Camp, Windmill Ruin (B. McLennan), Phelan Homes Competition, Baseball, Basketball, softball, Athletics, Cricket, Open Age Football, Cross Country, Your Badge, Mr Steane Recalls. An explanation of the Ballarat School of Mines Coat of Arms is given, and the first Ballara Junior Technical School Principal, Albert W. Steane recalls the early days of the school. Images include: Prefects, Dick Richards, Tank Stand Bullarto (linocut), cadets, Under 14 Football Team; Girls forms 1,2, and 4, Softball, Basketball, netball, hockey; Craig's Royal Hotel.2) cover "Mr A.W. Steane. Eyre St Ballarat"ballarat school of mines, ballarat junior technical school, ballarat north technical school, dick richards, steane, ron kirner, history, badge, crest, heraldry, garner, bullarto camp

Administrative record - "Superintendent electric running sheds' daily return" for MMTB dated 5/4/1938 - form 71 of 6/37. Give details of the weather, traffic conditions, depot tram cars - bogie and single truckers and the cars for the All Night services and their availability. Lists 6 cars taken out of service - defective or accidents, provides detail of status of fire services at depots, and watchmen's tell tales. Would have been compiled from individual depot reports. The rear of the sheet has been used to prepare notes on applicants for a position - Snesby? ,Fay, Hughes, Jones, Snout, Low, Quick and Coates giving details of seniority, service and Order from buses. See item 7521, 7516 and 7517 for similar reports. Yields information the mmtb cable tram allocation and events at electric tram running sheds - 1925 employee listing.Completed preprinted foolscap form with typed information and hand writing on the rear.tramways, trams, mmtb, depots, daily reports, employment

Yields information about the form used in Ballarat and Bendigo by the SEC to enabling ticket checking by Inspectors on the trams.Single sheet of paper titled "Supplementary Trip Way Bill", form No. TYE 583-4 (OP112), for filling in ticket starting numbers, for tickets from 8 ticket values through to 15c value. Also allows for parcel tickets, tram no, trip, route, inspector and punch marks. Has line for filling in date and signature at base of ticket. Used in late 1960's. Max. fare 15c Three copies held. See also Reg. item 68 and 279 for another sample - 1/- max value. See Fares in Ballarat – from Alan Bradley 11/4/2005 – appendix for Booktrams, tramways, secv rules, by laws, tickets, fares, ballarat, bendigo

Heavy card with black background containing one each of SEC "Blind Person's Pass", "Special Pass", $2.50 Scholar's monthly ticket and a 13c Parcel Ticket. Card has been covered with a "stick on" plastic adhesive film. Contains: 1. Blind Person's pass - A376, printed with a date of 195.., form TYE 2-21 2. Special Pass No. 167, allowing a person to travel on the tramways until a specified date, form TYE - 220 3. $2.50 Scholar's monthly ticket - A 7427 - form TYE 3-570 4. 13c parcel ticket, orange/red printing, Series A, Number A007205, form TYE 3-590. trams, tramways, tickets, passes, parcels, displays

Set of six different Table cards - blank unused form on preprinted card ruled to provide a timetable for crews - drivers and conductors, and hours worked. .1 - printed heavy paper for Northern and Southern trips from Terminus - Swanston trams? - 210H x 79W .2 - as above, but printed on heavy card, both sides .3 -printed on heavy paper, blank with sign on times, giving drivers and conductors, and hours worked - 165H x 80W - understood used with the plastic card holders. - form number 3/572 .4 - as for .2, light paper, double sided - 163H x 80W - form number 3/573 .5 - as for .2, heavy paper double sided - 165H x 80W - form number 3/573 .6 - as for .4 .7 - single sided sheet, printed on light page, 210H x 79W, no form number. See Reg Item 2601 for a sample used and backed onto a sheet of Masonite.trams, tramways, forms, drivers, table cards, conductors

1. - Form - "Supplementary Running Journal", used by Conductors to enable the checking of tickets by Examiners. Was to be filled out prior to the commencement of journey and placed in the clip provided. Has space for date, punch mark, each fare time and Signature and Number. Form 3/134, dated Aug. 1975. Starts with 10c fares, printed on off white paper, with printing in black. Form completed in pencil by L Prosser, No 2675 2. - Printed form on off white paper titled "M&MTB Conductor's Pay in slip", form number 3/135, dated March 1972. Enabled the conductors to record what amount they paid into the revenue office, with space for table number, name, out fit number, amounts, number of swimming tickets and signature of revenue clerk. See Reg Item 1460 for a 1988 and 1769 for a Feb. 1977 examples. 3. - Form - printed on off white paper, form No. 3/203, titled "Conductor's Running Journal", to be used by conductors to record trips, fares sold along with crews names and number. Has fares from 10c to $1. In right hand margin, has Control phone numbers. 4. - Printed form on off white paper titled "Weekly Record of Conductors Ticket Outfit", form 3/137, Aug 1975 - training or sample form as has starting or commencing numbers for ticketing printed onto the sheet. Set up for a six day week, closing numbers for each day, tickets from 10c to $1.00 city, conductors name, depot, person who extended or completed the sheet and checked it. Enabled the revenue clerks to tally the amount that should have been paid in by a conductor against the actual amount. Forms completed in pencil by L Prosser, No 2675trams, tramways, forms, tickets, conductors, revenue journal, running journal, inspectors, mmtb, pay in forms

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Small off white coloured booklet Bush Music Club Inc. Colonial Subscription Ball 1990 Dancers Companion (A guide to the Quadrilles) The Quadrille Figure 1 (Le Pantelon) (2x32) 8 Top couples R and L through. (without giving hands). 8 Set & turn Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat Figure 2 (Le 'Ete) (4x24) 4 Top couples advance & retire. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & turn partners. 24 Sides repeat. 48 Top and Sides repeat. Figure 3 (La Poule) (4x32) 4 Lady 1, Man 2 adv, tough RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH give RH to partner 4 Line of 4 balance fwd & back twice. 4 Men lead partners to opp. Place. 4 Lady 1, Man 2 adv. & ret. 4 Lady 1, Man 2 adv, honour & ret. 4 Top couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man !. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Quadrille Figure 4. (La Pastourelle) (4x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. 32 Repeat with 4th couple leading. Figure 5 (La Finale) (4 x 32 + 8) 4 All advance & retire. 4 Turn partners. 4 Ladies adv, curtsey & retire. 4 Men advance, bow & retire. 8 All set & turn corners. 8 Promenade with corner. (men to original place with corner) 96 Repeat 3 times to return to partner. 4 All advance & retire. Turn Partners. Notes: 1 Couples numbered 2 Set & turn is a 'balance' set and open hand turn. The Prince Imperial's Quadrille Figure 1. (4x24) 4 Top couples visit right, honour sides. 4 Top men retire with partner & side lady to opposite place, (ladies facing each other). 8 Ladies grand chain to places 8 All set and turn partners 24 Top couples repeat back to place. 48 Repeat with side couples. Figure 2 (4 x 24) 4 1st Lady, 2nd man adv & turn in centre finish facing 2nd lady. 2 2nd lady pass through to 1st man. 2 Both couples turn out to place. 4 top couples advance & retire. 4 Ladies chain back to place. (Nariel) 8 Chasse-croise. (4 steps past partner RH turn corner 4 steps back, LH turn with partner.) 24 Repeat wth 2nd lady, 1st man leading 24 Repeat wth 3rd lady, 4th man leading 24 Repeat wth 4th lady, 3rd man leading. Figure 3 (4x32) 4 1st lady to centre, curtsey to partner. (RH in RH, ACW turn in to centre) 4 2nd lady to centre, curtsey to partner. 4 3rd lady to centre, curtsey to partner.4 4th lady to centre, curtsey to partner. 8 ladies join hands, circle R, small steps after circle R, Men join circle, (giving RH to partner). 4 Balance for 4 (step lift x 4) 4 Turn partners to place, bow & curtsey. 32 Repeat, Lady 2, 1, 4 & 3 to centre 32 Repeat Lady 3, 4, 2 & 1 to centre 32 Repeat, Lady 4, 3, 1 & 2 to centre The Prince Imperial's Quadrille Figure 4 (4x32) 4 Top couples advance & retire. 4 Top couples adv, ladies move to R, as men retire to place. 8 Line of 3 adv & ret twice. 4 Single men adv, bow and retire. 4 Re-advance and turn to face partner. 4 Circle L half way round (with partner & side couple). 4 Half R & L to place. 32 Repeat with side couples leading. 32 Repeat with top couples leading (men moving to left as ladies retire) 32 Repeat with Side couple leading. (Men moving to left as ladies retire) Figure 5 (4x32 +32) 16 Ladies to the right, (RH turn with corner man then continue round to the right turning each man) 4 1st Lady, 2nd man advance & retire 4 re-advance & turn RH (finish facing partners) 8 set & turn partners (finishing in place) 32 Repeat with 2nd Lady, 1st man leading 32 repeat with 3rd lady, 4th man leading 32 Repeat with 4th Lady, 3rd man leading 16 Ladies to the right again. 4 Men turn partners to centre. 4 All bow and curtsey. 8 Promenade set ( hall) Note: Set & turn is a 'balance' set and open hand turn. The Parisienne Quadrille Figure 1 (1x32) 8 Couples R and L through. (without giving hands) 8 set & turn partners 8 Ladies chain. 4 Couples promenade across set. 4 Half R and L to place. Figure 2 (2x24) 4 Couples advance & retire. 4 Cross over (without changing places with partners) 8 Repeat back to place. 8 Set & turn partners. 24 Repeat. Figure 3 (2x32) 4 Lady 1, Man 2 adv, touch RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice 4 Men lead partners to opp. Place 4 Lady 1, Man 2 adv & retire 4 Lady 1, Man 2 adv, honour & ret. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man 1. The Parisienne Quadrille Figure 4. (2x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. Figure 5 (2x32) 4 Couples advance & retire 4 Cross over 8 Repeat back to place. 8 Ladies chain across & back.8 Set & turn partners. 32 Repeat Notes: 1 This 'quadrille' is similar to the first set (1st 4 figures) and is danced as two couple sets. 2 Set & turn is a 'balance' set and open hand turn. The Lancers Quadrille Figure 1 (4x24) 4 1st lady, 2nd man advance & retire, 4 Adv, turn two hands, return to place. 4 1st couple lead through across set 4 2nd couple lead through back 8 all set & turn corners. 24 Repeat, 2nd lady, 1st man leading 24 Repeat 3rd lady, 4th man leading 24 Repeat, 4th lady, 3rd man leading Figure 2 (4x24) 4 1st couple advance & retire. 2 1st lady adv to centre, turn to face partner 2 1st couple honour each other. 8 1st couple set and turn then sides form top & bottom lines 4 Lines advance & retire, 4 Advance and turn partners to place. 24 Repeat with 2nd couple leading 24 Repeat with 3rd couple leading 24 Repeat with 4th couple leading Figure 3. (2x32) 4 Ladies advance, curtsey & retire. 4 Men adv, bow, turn by left, bow to partners, then join RH in centre, (ladies RH on partners left elbow). 8 Promenade round set to place. 4 Ladies adv, curtsey & retire again. 4 Men adv, bow, turn by right, bow to partners, join LH in centre, right arm behind partner. 8 Promenade round to set in place. 32 Repeat. The Lancers Quadrille. Figure 4. (4x24) 8 Top couples visit R then L 4 Right Hands around with LH couple 4 then left hands around. 8 Circle left with that couple. 24 Repeat with side couples leading. 24 repeat, top couples visit L then R. 24 Repeat, side couples visit L then R. Figure 5. (4x48 +24) 8 All grand chain 1/2 way round and honour partners. 8 Continue grand chain to place and honour partners. 8 1st couple visit, return to place, facing out with sides in behind. 2 Change places with partner, 2 All rock fwd and back 2 change places again 2 All rock fwd and back 8 Cast out reform in lines 4 Lines advance & retire 4 Advance & turn partners to place 48 Repeat with 2nd couple leading 48 Repeat with 3rd couple leading 48 Repeat with 4th couple leading. 8 Grand chain 1/2 way round and honour partners. 8 continue grand chain to place and honour partners 8 swing partners (R arm round partner, LH in air) Note: All figures walked. Set & Turn is a 'balance' set and open two hand turn. The Caledonians Quadrille Figure 1. (2x32) 4 Top couples R.H. across, move CW (Ladies hands joined over Mens). 4 then L.H. across, move ACW. 8 Set & swing Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat. Figure 2. (4x24) 8 1st Man advance & retire twice. 8 Set & swing corners. 8 Promenade with corners (to men's position.) 24 2nd man repeat. 48 3rd and 4th man repeat. Figure 3. (4x32) 4 Lady 1, Man 2 advance & retire. 4 Re-advance, 2 hand turn to place. 8 1st & 2nd couples lead through and back. (1st lead through across, 2nd back) 8 Set & swing corners. 4 All advance & retire. 4 Swing partners. 32 Repeat with Lady 2, Man 1. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Caledonians Quadrille Figure 4. (4x24) 2 Lady 1, Man 2 advance and stop. 2 Lady 2, Man 1 advance and stop. 4 Turn partners back to place. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 4 Promenade to place. 4 Swing partners. 24 Repeat with Lady 2, Man 1 leading. 24 Repeat with Lady 3, Man 4 leading. 24 Repeat with Lady 4, Man 3 leading. Figure 5. (4x48 + 16) 8 1st couple visit. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing partners. 8 Grand chain 1/2 way round and honour partners. 4 Promenade to place 4 and swing partners. 8 Chasse-croise, (4 steps past partner, RH to corner balance fwd & back, then 4 steps back, LH to partner balance fwd & back). 48 Repeat with 2nd couple leading. 48 Repeat with 3rd couple leading. 48 Repeat with 4th couple leading. 8 All promenade set. 8 Swing partners. Note: Set & swing is 'normal' set and cross hand swing. The Royal Irish Quadrille Figure 1. (2x32) 8 Top couples to Right, R & L through 8 Set & swing Partners. 8 Ladies chain. 4 Couples promenade across (to the other couples position). 4 Half R & L to place. 32 Repeat with tops to the left. Figure 2. (4x24) 4 Top couples to Right, adv & ret. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & swing partners. 24 Repeat with top couples to the Left. 48 Tops repeat with Right and Left sides. Figure 3. (4x32) 4 Lady 1,2 and Man on Right, advance, touch RH, retire to opposite place. 4 Advance again, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice. 4 Men Lead partners to opp. Place. 4 Lady 1,2 and opp. Man adv & ret. 4 Advance, honour & retire. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Ladies 3,4 leading. 64 Repeat with Tops facing left. The Royal Irish Quadrille Figure 4. (4x32) 4 Top couples to Right, adv & ret. 4 Re-adv, Top Ladies join opp. Couple. 4 Line of 3 adv & ret. Top men retire. 4 Line of 3 adv, ladies join other man. 4 Line of 3 adv & ret, Side men retire. 4 Re-advance, form circle with opp. Man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with Side ladies leading. 64 Repeat with Top couples facing left. Figure 5. (4 x 32 + 8) 4 All advance & retire. 4 Swing partners. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing corners. 8 Promenade with corner. (Men to original place with corner). 96 Repeat 3 times to return to partner. 4 All advance & retire. 4 Swing partners. Notes: 1. This is The Quadrille danced diagonally, with Top couples dancing first with the side couple on their right, then the left. Ie. 1-3 and 2-4 then 1-4 and 2-3. 2. Set & swing is 'normal' set and irish swing.The Eightsome Reel Numbering: Clockwise 1-2-3-4 Part A (40 Bars) 4 All join hands, circle left 4 All circle right. 4 Grand Cross, Ladies join RH. 4 Grand Cross, Men join LH. 8 Set & turn Partners 16 Grand chain right round set. Part B ( 8x48 bars) 1st Lady advance to centre, Others join hands in circle. 8 Circle left and right 4 Set once and turn partner 1st Lady sets to partner then open hand turn once with partner. 4 Set once and turn opposite 1st Lady sets to opposite man, then open hand turn once. 8 Reel of 3, 1st Lady, partner and opposite man 1st Lady remains in centre. 8 Circle left and right again 4 Set once and turn side man 1st lady and man on right. 4 Set once and turn other side man 1st lady and man on left. 8 Reel of 3, 1st lady, and two side men. 48 2nd lady repeat. 96 3rd and 4th ladies repeat. 192 Men repeat same movement. The Eightsome Reel Part C (40 Bars) 8 All circle left and right. 4 Grand cross - Ladies join RH. 4 Grand Cross - Men join LH. 8 All set and turn partners. 16 Grand Chain round set. Note: Set is 'normal' set. Turn is open hand turn. NOTES 1. The Quadrille 2. The Prince Imperials 3. The Parisienne Quadrille 4. The Lancers Quadrille 5. The Caledonians Quadrille 6. The Royal Irish Quadrille 7. The Eightsome Reelperson, individual, peter ellis oam

Small yellow booklet outline of a man on left of title and woman on right. Bush Music Club Inc. Colonial Subscription Ball 1991 Dancers Companion (A guide to the Quadrilles) The Quadrille Figure 1 (Le Pantelon) (2x32) 8 Top couples R and L through. (without giving hands). 8 Set & turn Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat Figure 2 (Le 'Ete) (4x24) 4 Top couples advance & retire. 4 Cross over (without changing places with partner). 8 Repeat back to place. 8 Set & turn partners. 24 Sides repeat. 48 Top and Sides repeat. Figure 3 (La Poule) (4x32) 4 Lady 1, Man 2 adv, tough RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH give RH to partner 4 Line of 4 balance fwd & back twice. 4 Men lead partners to opp. Place. 4 Lady 1, Man 2 adv. & ret. 4 Lady 1, Man 2 adv, honour & ret. 4 Top couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man !. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Quadrille Figure 4. (La Pastourelle) (4x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. 32 Repeat with 4th couple leading. Figure 5 (La Finale) (4 x 32 + 8) 4 All advance & retire. 4 Turn partners. 4 Ladies adv, curtsey & retire. 4 Men advance, bow & retire. 8 All set & turn corners. 8 Promenade with corner. (men to original place with corner) 96 Repeat 3 times to return to partner. 4 All advance & retire. Turn Partners. Notes: 1 Couples numbered 1 4 2 3 2 Set & turn is a 'balance' set and open hand turn. The Lancers Quadrille Figure 1 (4x24) 4 1st lady, 2nd man advance & retire, 4 Adv, turn two hands, return to place. 4 1st couple lead through across set 4 2nd couple lead through back 8 all set & turn corners. 24 Repeat, 2nd lady, 1st man leading 24 Repeat 3rd lady, 4th man leading 24 Repeat, 4th lady, 3rd man leading Figure 2 (4x24) 4 1st couple advance & retire. 2 1st lady adv to centre, turn to face partner 2 1st couple honour each other. 8 1st couple set and turn then sides form top & bottom lines 4 Lines advance & retire, 4 Advance and turn partners to place. 24 Repeat with 2nd couple leading 24 Repeat with 3rd couple leading 24 Repeat with 4th couple leading Figure 3. (2x32) 4 Ladies advance, curtsey & retire. 4 Men adv, bow, turn by left, bow to partners, then join RH in centre, (ladies RH on partners left elbow). 8 Promenade round set to place. 4 Ladies adv, curtsey & retire again. 4 Men adv, bow, turn by right, bow to partners, join LH in centre, right arm behind partner. 8 Promenade round to set in place. 32 Repeat. The Lancers Quadrille. Figure 4. (4x24) 8 Top couples visit R then L 4 Right Hands around with LH couple 4 then left hands around. 8 Circle left with that couple. 24 Repeat with side couples leading. 24 repeat, top couples visit L then R. 24 Repeat, side couples visit L then R. Figure 5. (4x48 +24) 8 All grand chain 1/2 way round and honour partners. 8 Continue grand chain to place and honour partners. 8 1st couple visit, return to place, facing out with sides in behind. 2 Change places with partner, 2 All rock fwd and back 2 change places again 2 All rock fwd and back 8 Cast out reform in lines 4 Lines advance & retire 4 Advance & turn partners to place 48 Repeat with 2nd couple leading 48 Repeat with 3rd couple leading 48 Repeat with 4th couple leading. 8 Grand chain 1/2 way round and honour partners. 8 continue grand chain to place and honour partners 8 swing partners (R arm round partner, LH in air) Note: All figures walked. Set & Turn is a 'balance' set and open two hand turn. The Prince Imperial's Quadrille Figure 1. (4x24) 4 Top couples visit right, honour sides. 4 Top men retire with partner & side lady to opposite place, (ladies facing each other). 8 Ladies grand chain to places 8 All set and turn partners 24 Top couples repeat back to place. 48 Repeat with side couples. Figure 2 (4 x 24) 4 1st Lady, 2nd man adv & turn in centre finish facing 2nd lady. 2 2nd lady pass through to 1st man. 2 Both couples turn out to place. 4 top couples advance & retire. 4 Ladies chain back to place. (Nariel) 8 Chasse-croise. (4 steps past partner RH turn corner 4 steps back, LH turn with partner.) 24 Repeat with 2nd lady, 1st man leading 24 Repeat with 3rd lady, 4th man leading 24 Repeat wth 4th lady, 3rd man leading. Figure 3 (4x32) 4 1st lady to centre, curtsey to partner. (RH in RH, ACW turn in to centre) 4 2nd lady to centre, curtsey to partner. 4 3rd lady to centre, curtsey to partner.4 4th lady to centre, curtsey to partner. 8 ladies join hands, circle R, small steps after circle R, Men join circle, (giving RH to partner). 4 Balance for 4 (step lift x 4) 4 Turn partners to place, bow & curtsey. 32 Repeat, Lady 2, 1, 4 & 3 to centre 32 Repeat Lady 3, 4, 2 & 1 to centre 32 Repeat, Lady 4, 3, 1 & 2 to centre The Prince Imperial's Quadrille Figure 4 (4x32) 4 Top couples advance & retire. 4 Top couples adv, ladies move to R, as men retire to place. 8 Line of 3 adv & ret twice. 4 Single men adv, bow and retire. 4 Re-advance and turn to face partner. 4 Circle L half way round (with partner & side couple). 4 Half R & L to place. 32 Repeat with side couples leading. 32 Repeat with top couples leading (men moving to left as ladies retire) 32 Repeat with Side couple leading. (Men moving to left as ladies retire) Figure 5 (4x32 +32) 16 Ladies to the right, (RH turn with corner man then continue round to the right turning each man) 4 1st Lady, 2nd man advance & retire 4 re-advance & turn RH (finish facing partners) 8 set & turn partners (finishing in place) 32 Repeat with 2nd Lady, 1st man leading 32 repeat with 3rd lady, 4th man leading 32 Repeat with 4th Lady, 3rd man leading 16 Ladies to the right again. 4 Men turn partners to centre. 4 All bow and curtsey. 8 Promenade set ( hall) Note: Set & turn is a 'balance' set and open hand turn. The Parisienne Quadrille Figure 1 (1x32) 8 Couples R and L through. (without giving hands) 8 set & turn partners 8 Ladies chain. 4 Couples promenade across set. 4 Half R and L to place. Figure 2 (2x24) 4 Couples advance & retire. 4 Cross over (without changing places with partners) 8 Repeat back to place. 8 Set & turn partners. 24 Repeat. Figure 3 (2x32) 4 Lady 1, Man 2 adv, touch RH, retire to opposite place. 4 Lady 1, Man 2 adv, join LH, give RH to partner. 4 Line of 4 balance fwd & back twice 4 Men lead partners to opp. Place 4 Lady 1, Man 2 adv & retire 4 Lady 1, Man 2 adv, honour & ret. 4 Couples, advance & retire. 4 Half R & L to place. 32 Repeat with Lady 2, Man 1. The Parisienne Quadrille Figure 4. (2x32) 4 1st couple advance & retire. 4 1st couple adv, lady join 2nd couple. 4 Line of 3 adv. & ret, 1st man retire. 4 Line of 3 adv. Ladies cross to 1st man. 4 Line of 3 adv. & ret, 2nd man retire. 4 Re-advance, form circle with 2nd man. 4 Circle L half way round. 4 Half R & L to place. 32 Repeat with 2nd couple leading. Figure 5 (2x32) 4 Couples advance & retire 4 Cross over 8 Repeat back to place. 8 Ladies chain across & back.8 Set & turn partners. 32 Repeat Notes: 1 This 'quadrille' is similar to the first set (1st 4 figures) and is danced as two couple sets. 2 Set & turn is a 'balance' set and open hand turn. Wellington Waltz 8 Honour Partner, honour corner 8 Circle L 7 steps, then tap, tap 8 Circle R 7 steps, then tap, tap 4 Top couples, 2 side-steps to centre and back with lady turning under man's left arm. 4 Waltz across to opposite side 8 Side couples repeat. 8 Top ladies chain across. (pause in centre, turn twice with opp. Man) 8 Side ladies chain across. 8 Grand Chain half way round set. 8 Waltz to man's place. 64 Repeat with side couples leading. Waltz Cotillon 8 Honour Partner, honour corner 16 1st couple waltz the set. 8 Top ladies cross over.8 Side ladies cross over. 8 Top men cross over. 8 Side men cross over. 16 All waltz back to place. Form top & bottom lines, 8 Adv. & ret, cross over. 8 Adv. & ret, cross back. 16 Waltz chain to meet partner. 16 All waltz back to place. Form top & bottom lines, 8 Adv. & ret, cross over. 8 Adv. & ret, cross back. 16 Waltz chain to meet partner. 16 All waltz back to place. 112 Repeat with 2nd couple leading. 112 Repeat with 3rd couple leading. Side lines adv. & ret. 112 Repeat with 4th couple leading. Side lines adv. & ret. Galopade Quadrille 8 Honour Partner, honour corner 8 All galop round set. (Galop half way round set, on opp. Side change places with partner, continue galop to place.) 8 Top couples R & L through. 8 Side couples R & L through. 8 All set & swing partners. 8 All galop round set. 8 Top ladies chain. 8 Side ladies chain. 8 All set & swing partners. 8 All galop round set. 8 1st couple lead through, 2nd on return 8 3rd couple lead through, 4th on return 8 All set & swing partners. 8 All galop round set. 4 1st lady & 2nd man adv. & ret. 4 2nd lady & 1st man adv. & ret. 4 3rd lady & 4th man adv. & ret. 4 4th lady & 3rd man adv. & ret. 8 All set & swing partners. 8 All galop round set. 4 Ladies advance & retire. 4 Men advance & retire. 8 Double ladies chain. 8 All set & swing partners. 8 All galop round set. 8 Top couples waltz the set 8 Side couples waltz the set 8 All set & swing partners. 32 Waltz the hall. The Caledonians Quadrille Figure 1. (2x32) 4 Top couples R.H. across, move CW (Ladies hands joined over Mens). 4 then L.H. across, move ACW. 8 Set & swing Partners 8 Top ladies chain. 4 Top couples promenade across set. 4 Half R and L to place. 32 Side couples repeat. Figure 2. (4x24) 8 1st Man advance & retire twice. 8 Set & swing corners. 8 Promenade with corners (to men's position.) 24 2nd man repeat. 48 3rd and 4th man repeat. Figure 3. (4x32) 4 Lady 1, Man 2 advance & retire. 4 Re-advance, 2 hand turn to place. 8 1st & 2nd couples lead through and back. (1st lead through across, 2nd back) 8 Set & swing corners. 4 All advance & retire. 4 Swing partners. 32 Repeat wth Lady 2, Man 1. 32 Repeat with Lady 3, Man 4. 32 Repeat with Lady 4, Man 3. The Caledonians Quadrille Figure 4. (4x24) 2 Lady 1, Man 2 advance and stop. 2 Lady 2, Man 1 advance and stop. 4 Turn partners back to place. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 2 All ladies to the right 4 steps. 2 All men to the left 4 steps. 4 Promenade to place. 4 Swing partners. 24 Repeat wth Lady 2, Man 1 leading. 24 Repeat wth Lady 3, Man 4 leading. 24 Repeat wth Lady 4, Man 3 leading. Figure 5. (4x48 + 16) 8 1st couple visit. 4 Ladies advance, curtsey & retire. 4 Men advance, bow & retire. 8 All set & swing partners. 8 Grand chain 1/2 way round and honour partners. 4 Promenade to place 4 and swing partners. 8 Chasse-croise, (4 steps past partner, RH to corner balance fwd & back, then 4 steps back, LH to partner balance fwd & back). 48 Repeat with 2nd couple leading. 48 Repeat wth 3rd couple leading. 48 Repeat wth 4th couple leading. 8 All promenade set. 8 Swing partners. Note: Set & swing is 'normal' set and cross hand swing. The Lancers Quadrille (BMC version) Figure 1. (4x32) 8 1st Lady, 2nd man advance & swing in centre (with ballroom hold). 4 Partners move 1/2 way across, Centres keep swinging. 4 Promenade partner to opp. Place. 8 1st couple lead through to place. 8 All swing corners. 32 Repeat with 2nd lady, 1st man. 32 Repeat with 3rd lady, 4th man. 32 Repeat with 4th lady, 3rd man. Figure 2. (4x32) 8 1st couple lead up (to 2nd) & retire. 8 1st couple swing in place Form top & bottom lines. 8 Lines adv & retire twice. 8 Swing partners. 32 Repeat with 2nd couple leading. 32 Repeat with 3rd couple leading. (Forming side lines instead) 32 Repeat with 4th couple leading. (Forming side lines instead) Figure 3. (2x32) 4 Introduction - Ladies to the centre and men form a circle around them. 8 Men circle left. 8 Men circle right. Men form a grand cross (LH) Right arm behind partners. 16 Promenade round set. Ladies return to the centre. 32 Repeat - Circle L & R, & Grand Cross. The Lancers Quadrille (BMC version) Figure 4. (2x48) 8 Top couples visit. 4 Tops RH star. 4 then LH star. 8 Tops basket Left. 8 Tops basket Right. 8 Tops circle Left. Tops circle Right. 48 Repeat with side couples leading. Figure 5. ((4x 16+32) + 24) 8 All grand chain 1/2 way round and honour partners. 8 Promenade with partners to place. 8 1st couple lead up, turn and lead out with side falling in behind. 8 Cast out, reform top & bottom lines. 4 Lines advance & retire. 4 Advance & swing partners to place. 8 Swing partners in place. 48 Repeat with 2nd couple leading. 48 Repeat with 3rd couple leading (forming side lines) 48 Repeat with 4th couple leading. (forming side lines) 8 All grand chain 1/2 way round and honour partners. 8 Promenade with partners to place. 8 Swing partners in place. Note: Normal swing here is with hands crossed. 1. The Quadrille 2.The Lancers Quadrille 3. The Prince Imperials 4. The Parisienne Quadrille 5. The Wellington Waltz 6. The Waltz Cotillon 7. The Galopade Quadrille 8. The Caledonians Quadrille 9. The Lancers Quadrille (BMC)person, individual, peter ellis oam

Gabo Island sits off the coast of East Gippsland in Victoria, with cliffs of granite in a relatively unique red/pink colour. Early attempts to build a lighthouse on the island were abandoned due to poor foundations, but when a ship ran aground on the nearby Tullaberga Island in 1853 and led to the death of 37 people, efforts were reignited. Construction of a new lighthouse was completed by 1858, using Gabo Island granite. The lighthouse is Australia's second tallest in Australia and continues to play an important role in guiding boats around the coast as they journey between Melbourne and Sydney. The distinct pink colour from the granite means the lighthouse continues to be a defining feature of the island. Gabo Island granite was also used to construct the Treasury Building at 117 Macquarie Street in Sydney, now the Intercontinental Hotel.Granite in the pink colour of this specimen is relatively rare. The connection to the lighthouse on Gabo Island also gives the specimen historic significance and social significance regarding the maritime history of Victoria. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid palm-sized mineral, coloured by flecks of pink, red, and grey. Granite is formed by the slow crystallisation of magma below the earth's surface. It is typically composed of a mix of quartz, feldspar, and other minerals, though syenitic granite like this sample has a smaller amount of quartz than typical granite. This different mineral composition leads to the more distinct pink and red colouring.First sticker: [torn]logical survey / R........ S........ / Loc Gabo Island / 1/4 Sheet / Second Sticker: 15 Third Sticker: Syenitic Graniteburke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, mineralogy, gabo island, gabo island lighthouse, lighthouse, granite, coast, coastal, granite specimen, victoria, coastal cliffs

This specimen was recovered from Ceres West of Geelong, Victoria. Greenstone is the name for any metamorphosed basic igneous rock (in the case of this specimen, Gabbro) that gains its greenish colour to the presence of the minerals chlorite, actinolite, or epidote, hence the term 'green' and 'stone'. Greenstone is often formed through metamorphsis along a convergent plate boundary. In the rock cycle (the series of processes that creates the various types of rocks) there are identified three different types of rocks, which are the sedimentary, the igneous and the metamorphic. Metamorphic rocks started out as sedimentary, igneous or earlier metamorphic rocks but changed from their original condition under the effect of high heat, high pressure or hot, mineral-rich fluid. However, if pressure or heat is too high, then the rock will melt, resulting in the formation of an igneous rock. The name used to describe these types of rocks reflects this specific inherent trait of change, since the word “metamorphic” derives from the Greek word “metamorphosis”, meaning “change of form or structure”. Metamorphic rocks form in the Earth`s crust but can be also found on the surface, due to elevation of the Earth`s surface. They are divided into two categories: the foliated metamorphic and the non-foliated metamorphic rocks. Gabbro is a highly useful mineral that is often polished to create cemetery markers and kitchen benches. It is notable for its qualities of durability, being able to withstand extreme elements and wear. Whilst not rare, Gabbro is of great utility and has been highly desirable for its qualities. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Greenstone is a solid hand-sized metamorphic mineral of a green colour. Greenstone is the name for any metamorphosed basic igneous rock (in the case of this specimen, Gabbro) that gains its greenish colour to the presence of the minerals chlorite, actinolite, or epidote, hence the term 'green' and 'stone'. Gabbro is a medium to coarse grained rocks that consist primarily of plagioclase feldspar and pyroxene. Greenstone is often formed through metamorphsis along a convergent plate boundary. Gabbro forms due to cooling and crystallization of magma underneath Earth's surface. Greenstone/Gabbro/from Ceres west/of Geelong. Has old Geological Survey label/and probably collected by/Richard Daintree in 1861/C.Willam 15/4/21/ Other label: 62 /greenstone, metamorphosed, igneous rock, gabbro, chlorite, actinolite, epidote, metamorphsis, rock cycle, various types of rocks, sedimentary, high heat, high pressure, mineral-rich fluid, metamorphosis, foliated metamorphic, non-foliated metamorphic, convergent plate boundary, greenish colour, minerals

Fluorite comes in a variety of natural colours and crystal formations and glows under ultraviolet light (the word 'fluorescence' comes from the same etymological source). In its pure form, calcium fluoride, it is a colourless combination of the elements calcium and fluorine, but gains its colour from trace elements that infiltrate or replace calcium within its crystal structure during its formation. Although fluorite crystals polish well and can achieve a high level of lustre, the mineral is very soft (4 on MOHS hardness scale) so it is unsuitable for use in rings and must be handled and stored carefully if used in other forms of jewellery. Most crystals of the mineral are too coarse for decorative purposes but have been mined under the name fluorspar for a variety of commercial and industrial purposes. These include the production of hydrofluoric acid, smelting metal alloys, producing glazes and ceramic finishes and use in medical and dental products. An existing label for this specimen indicates that its origin or collection-point was 'probably USA.' Fluorspar, the form of fluorite used commercially and industrially, was mined in significant quantities in the counties of Hardin and Pope in South-Eastern Illinois throughout the Nineteenth and Twentieth Centuries. Fluorite was made Illinois' state mineral in recognition of its contribution to the state's identity and economy. The specimens are significant as examples of surveying activity undertaken to assess and direct the development of the mineral resource industries, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century.The specimen is a piece of purple shaded fluorite (also known as fluorspar), the mineral form of calcium fluoride. The unpolished specimen presents a dark purple interior with a substantial dark grey crust representing the matrix from which the specimen was obtained. Existing label: Flourite / (purple) / probably / USA / BB /burke museum, beechworth, geological, geological specimen, fluorite, flourite, calcium fluoride, hydrofluoric acid, jewellery, indigo shire, north-east victoria, mining, illinois, usa, united states, fluorine, gemstones, purple stones

This item was used as a seal (stamp) on official Shire Council documents. The coat of arms of the Shire of Orbost was designed in the form of a cross in which five stars are depicted on a shield. A small crown above the cross indicates the loyalty of the president,councillors and ratepayers to the reigning monarch. The inner section of the shield contains 4 figures, a sheaf of wheat, a factory, a co and a ship - all representing the activities of agriculture, fishing,industry and dairying undertaken in the shire. Originally part of the Bairnsdale district, Orbost split away as part of the Tambo Shire in 1882, and became a shire in its own right as the Shire of Croajingolong on 30th May,1892. The name was changed to the Shire of Orbost on 17th February, 1893. The Orbost Shire Council was abolished on 2nd December, 1994 as part of a state-wide program of local government reform to become part of the newly constituted East Gippsland Shire council.Local governments play an important role in the lives of citizens in Australia. Local government authorities exist to provide services and amenities to local communities, and are also responsible for regulating and providing services for land and property in their district. This item is representative of a time when Orbost had its own Shire Council.The former Orbost Shire Council Seal (stamp) depicting the coat of arms. The circular seal is brass and has a wooden handle with a bulb shaped top.President, Councillors and Ratepayers of the Shire of Orbost-1892orbost orbost-shire-council government history seal

Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling varioius public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (Ref. Nov 2014 Newsletter) Carl Grove was a prominent Orbost early settler. This document is a useful research tool.A document hand-written on foolscap sized paper. There is a "List of Species Collected by Mr Carl Grove" and a letter written by Carl Grove to the president and committee of the Mechanics Institute Orbost.document-species-list-orbost grove-carl

This is a photograph of Councillor Charles Henry Grove who represented South Riding on the Orbost Shire Council. from 1893 - 1901. He was president in 1893-1894, 1895-1896 and 1900-1901. He also served on the Tambo Shire prior to the formation of the Croajingolong / Orbost Shire. Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling various public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (info. Newsletter 113)This item is associated with the Orbost Shire Council. The shire covered an area of 9,347 square kilometres and existed from 1892 until 1994 when it became part of the East Gippsland Shire Council. It is associated with Carl Grove, a prominent early Orbost citizen.A black / white head and shoulders portrait photograph of a bearded man in a suit. There is also a framed copy.grove-charles-henry grove-carl orbost-shire-council

This is a photograph of Councillor Charles Henry Grove who represented South Riding on the Orbost Shire Council. from 1893 - 1901. He was president in 1893-1894, 1895-1896 and 1900-1901. He also served on the Tambo Shire prior to the formation of the Croajingolong / Orbost Shire. Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling various public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (info. Newsletter 113Carl Grove was a prominent early Orbost citizen.A small square head and shoulders photograph of a man. It is attached to a white card with tape.on front - "Mr C. Grove"grove-charles

A fireplace was the most commonly used form of heating a dwelling, cooking, and heating water for laundry and domestic uses.Fireplace accessories were an important part of the decor of houses as well as being useful items.A curved copper pan. The handle is copper tubing with a wooden handle grip. It has 4 feet in the shape of animal paws (lion?). The handle is attached with lion faces. The paws and feet are brass and attached to the pan with screws.copper fireplace domestic kindling-holder

This photo shows the large mining cavity with a hydraulic sluicing machine in operation at Baarmutha Three Mile Mine, Beechworth . The Beechworth Mining District was one of six mining districts established by the Governor-in-Council on 4 January 1858 under the provisions of An Act for Amending the Laws Relating to the Goldfields (21 Vic no.32). The District was further divided into seven divisions: Spring Creek, Snake Valley, Three Mile Creek, Buckland, Woolshed, Yackandandah and Omeo. The boundaries of each of these divisions and of the whole district are described in the Governor-in-Council's proclamation printed in the Government Gazette, 5 January 1858, pages 3-5. Hydraulic mining is a form of mining that uses high-pressure jets of water to dislodge rock material or move sediment. In the placer mining of gold or tin, the resulting water-sediment slurry is directed through sluice boxes to remove the gold. It is also used in mining kaolin and coal.This photograph shows the impact the gold rush era had on Australia and the earth.A black and white rectangular photograph printed on photographic paperCopied from original on loan film (WEBB QLD) / Donated 2009 NOV/ Baarmutha Three Mile Mine c1920-1950/ Managed by John Weir Peter Jereen Jack Cox / Owned by Plain Bros then Parkinsons Sluicing.mining, gold fields, beechworth, gold rush, burke museum, photograph, mining cavity, hydraulic mining, hydraulic sluicing, baarmutha

From 1923 until 2008, Warley Bush Nursing Hospital served the Island. In 1923 benefactors, Mr and Mrs W E Thompson, purchased the home of the late Robert Walpol, and presented it to the people of the island for use as a hospital. Warley was in fact the state's first Bush Nursing Hospital. It closed in 2008.[ The Advertiser]Historical4 small cream coloured booklets with accounts, reports, financial statements,subscriptions and membership forms.warley hospital, medical services, bob davie, marjorie beaton, reports

Francis was known as Joseph and his name is on the Cowes war memorial. The Dominick family had 40 acres on the Nobbies Road, next to the Smiths. He enlisted in South Melbourne on 27/10/1916 and was killed in action on 4 October 1917 in Belgium.Historical2 photocopied WW1 documents. One is his enlistment form and the other is a report of death in action.Australian Imperial Force Attestation Paper of Persons Enlisted for Service Abroad. Field Service Army Form B 20290Aworld war 1, joseph dominick, military, dominick family

Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling various public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (info. Newsletter 113)Two black / white photographs of a woman in a pen feeding two emus and some chickens.grove-annie grove-carl

This is a photograph of Councillor Charles Henry Grove who represented South Riding on the Orbost Shire Council. from 1893 - 1901. He was president in 1893-1894, 1895-1896 and 1900-1901. He also served on the Tambo Shire prior to the formation of the Croajingolong / Orbost Shire. Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling various public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (info. Newsletter 113)This item is associated with Carl Grove, a prominent early Orbost citizen.A small black / whitee head and shoulders photograph of a man with beard and moustache, He is wearing a suit and tie.grove-charles

The constitution states that the object of the Society is to relieve the wants of the poor -especially women and children- by suppyling them with clothing ,boots, food, fuel and other necessaries. The members of the Society to be councillors wives and representatives of Religious organisations.The President shall be the Mayoress. the positions of Treasurer and Secretary shall be Honorary. Mrs. McCaskill , whose husband was a Councillor at that time was the first President, a position she held for many years. There were 32 Ladies Benevolent Societies in the metropolitan area at this time. By the early 2000s there only a few left and Ringwood was one of the last to close about 2008 when it was absorbed into the Citizen's Advice Bureau. Various typed and hand written documents relating to the Ringwood Ladies Benevolent Society formed in 1929. 1- Constitution and Rules. 2- First Annual Report dated 1930. 3- Financial report submitted to The Charities Board of Victoria. 4- Receipts and expenditure for year ending 30th June 1930. 5- List of Societies affiliated with the Central Council of Victorian Ladies' Benevolent Societies. 6- Notification of first Annual Meeting of the Society in 1930. 7- Miscellaneous documents and newspaper clipping relating to the Ringwood Ladies Benevolent Society.

Two photographs of the students at the Ringwood State School in 1933 (grade 2) and 1935 (grade 4) 1935 Photograph (7002a) L to R Back Row - Norm Brown, Milton Blood, Ken Ward, Athol Tilson, Ken Hill, Doug Highland, Bob Green, Jack Reynolds, David Allen, Graeme Morcom. 3rd Row - , , Hazel Morgan, Betty Adolpherson, Lorna Hill, , Elvie Hansy, Betty Reed, Valma Bassett, ? Hancock, Betty Stoney. 2nd Row ? Kelly, , , , , Valerie Anderson, Bernice Dixon, Betty Broadbent, , . Front row - Eddie Jackson, , Nally Hazelwood, Ron Ansell, Tom Young, Rupert Shearer, Eddie Flynn, Frank Lloyd, Lloyd Home, John Silby 1933 Photograph (7002b) L to R Back Row - Eddie Jackson, , Bob Green, Ken Manning, David Allen, Ron Hansel. 4th Row - Ken Ward, Tom young, Wally Hazelwood, Ken Thomas, Jack Reynolds, , Eddie Flynn, Graeme Morcom, Frank Lloyd. 3rd Row - Betty Walters, , , Helen Bond, Hazel Morgan, , , Elvie Hansy. 2nd Row - Milton Blood, Betty Stoney, Valma Bissett, Bernice Dixon, Jean Wright, Valerie Anderson, , , Betty Adolpherson, Lorna Hill. Front Row - Ken Hill, Lloyd Home, , Norman Windsor, Alan Knopp, , , Athol Tilson. Note 2/1/2019: Jan Adolphson emailed "Just wanted to say that my Auntie Betty is in both these pictures, 1933 and 1935 but her name is incorrectly spelt. should be Betty Adolphson ". (Rear of photographs state name as Betty Adolpherson). Both photographs are in post card form, made by Kodak. One is addressed "David Allen, Canterbury Road, Ringwood", the donor of the photographs.

This set of 36 photographs were taken at a Corps Day Parade held at the Army Survey Regiment, Bendigo on the 1st of July 1987. The Parade Commander was CO LTCOL Don Swiney MBE, and the Reviewing Officer was the Colonel Commandant (honorary appointment) of the Survey Corps - COL Clem Sargent (Retd). The Corps Day Parade was held to commemorate the 72nd anniversary of the formation of the Royal Australian Survey Corps. It was an occasion for great celebration at the Regiment. After 45 years in Bendigo, its future was finally secure. At the traditional anniversary parade, the Colonel Commandant COL Clem Sargent praised the efforts of the Regiment and led the soldiers in three cheers for the record production of the previous 12 months. More information is provided in page 140 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. This set of photos cover the start of the Corps Day Parade, drill movements of the four Squadrons forming up on the parade ground and the formal arrival of the Reviewing Officer. See Item 6376.18P for additional photographs taken at the Corps Day Parade, comprising inspections of the Regiment’s four squadrons, presentations of the Defence Force Service Medal in recognition of 15 years of efficient remunerated service to SSGT Phil Meagher and SGT Wayne Rothwell; and formal group photos of each of the four Squadrons, Officers, and Warrant Officers/Sergeants.This is a set of 36 photographs of a Corps Day Parade held at the Army Survey Regiment, Fortuna, Bendigo in July 1987. The black & white photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, black & white, July 1987. Unidentified personnel marching onto parade ground. .2) - Photo, black & white, July 1987. Squadrons marching on parade ground. 1st rank L to R: LCPL Ken Dempster, unidentified (x2), WO2 Neville Stone, remainder unidentified. .3) - Photo, black & white, July 1987. Right file L to R: WO2 George Graham, WO2 Dave Miles, remainder unidentified. .4) - Photo, black & white, July 1987. L to R: WO1 Stevo Hinic, 1st rank – unidentified, CPL Max Watson, unidentified, WO2 Peter Tangey. .5) - Photo, black & white, July 1987. L to R: WO2 Ralph Chant, CPL Gary Drummond, SGT Gary Kerr, unidentified, CPL Dale Hudson, unidentified, LCPL Daryl South, CPL Kerron South, CPL Peter Dillon, SGT Brian Fauth, SGT Graham Johnston, CPL Peter Swandale, CPL Jim Ash, unidentified, CPL Gary Tremain, unidentified, unidentified UK exchange, unidentified WO1 Ken Slater, WO1 Doug Arman. .6) - Photo, black & white, July 1987. L to R: WO2 Alan Bunn, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, unidentified (x2), SSGT Greg Gilbert, unidentified, WO2 George Graham. .7) - Photo, black & white, July 1987. L to R: CPL Rod Skidmore, SSGT Phil Meagher, WO1 Colin Cuskelly, unidentified, CPL Colin McInnes, unidentified, CPL Jeff Le Fe-Fevre, SPR Richard Arman, CPL Dan Cirsky, CPL Michelle Griffith, LCPL Tom Bloxham, SPR Ailsa (Sorby) Miller, CPL Peter Johnson, unidentified, LCPL Ken Dempster, unidentified (x2), WO2 Neville Stone. .8) - Photo, black & white, July 1987. L to R: CPL Bob Thrower, unidentified (x2), SGT Kevin Boehm, CPL Peter Coles, SGT John ‘Stormy’ Tempest, CPL John ‘JJ’ Smith, unidentified CPL Laurie Justin, unidentified, WO2 Alan Bunn, unidentified (x2), LCPL Bob Sheppard, unidentified, CPL Steve McGuiness, unidentified, SGT Bob Garritty, unidentified, SPR Jim Humphrey. .9) - Photo, black & white, July 1987. Foreground – Acting RSM WO1 Dave Thompson, background L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix. .10) - Photo, black & white, July 1987. Officers ready to take posts. Background L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix, LT Vicky Thompson, Foreground – 2IC MAJ Terry Edwards, Acting RSM WO1 Dave Thompson, WO2 Alan Bunn, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard. .11) to .13) - Photo, black & white, July 1987. Officers ready to take posts. L to R: MAJ Daryl Hockings CSM, CAPT Bob Williams, CAPT Laurie Newton, ADJT CAPT Andrew McLoud, MAJ Bob McHenry, CAPT Peter ‘Blue’ Blaskett, MAJ Mick Byrne, MAJ Roger Rix, LT Vicky Thompson, CAPT John South. .14) - Photo, black & white, July 1987. L to R: WO2 Alan Bunn, MAJ Roger Rix. .15) - Photo, black & white, July 1987. L to R: unidentified personnel, CAPT Laurie Newton, unidentified, CAPT Bob William, MAJ Mick Byrne, WO2 Dave Miles. .16) &.17) - Photo, black & white, July 1987. L to R: 2IC MAJ Terry Edwards handing Parade over to CO LTCOL Don Swiney MBE. .18) - Photo, black & white, July 1987. Arrival of Reviewing Officer- COL COMDT COL Clem Sargent. Saluted by CPL Kevin ‘Chuck’ Berry. .19) - Photo, black & white, July 1987. Arrival of Reviewing Officer- COL COMDT COL Clem Sargent. Saluted by CPL Kevin ‘Chuck’ Berry. MAJ Duncan Burns on right departing vehicle. .20) - Photo, black & white, July 1987, Reviewing Officer - COL COMDT COL Clem Sargent returning salute from CO LTCOL Don Swiney MBE. .21) - Photo, black & white, July 1987, Headquarters Squadron approaching the Dias. L to R: CAPT John South, unidentified, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, T Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, remainder partially obscured, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .22) - Photo, black & white, July 1987, Headquarters Squadron’s MAJ Roger Rix salutes the Reviewing Officer. L to R: CAPT John South, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham. .23) - Photo, black & white, July 1987, Headquarters Squadron’s MAJ Roger Rix salutes the Reviewing Officer. L to R: CAPT John South, MAJ Roger Rix, unidentified, SPR Tracy (Parker) Ash, unidentified, Vicky Thompson, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent, .24) - Photo, black & white, July 1987, Headquarters Squadron continues past the Dias. L to R: unidentified (x3), Vicky Thompson, unidentified, CPL Bob Thrower, SGT Kevin Boehm, CPL Peter Coles, CPL John ‘JJ’ Smith, CPL Laurie Justin, LCPL Bob Sheppard, CPL Steve McGuiness, SGT Bob Garritty, SPR Jim Humphrey, WO2 George Graham. .25) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron approaching the Dias. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, centre file marker CPL Max Watson, right marker CPL Perry Burt, CAPT Bob Williams, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .26) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron salute the Reviewing Officer. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, centre file marker CPL Max Watson, right marker CPL Perry Burt, CAPT Bob Williams, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .27) - Photo, black & white, July 1987, Army Survey Regiment senior officers and Air Survey Squadron salute the Reviewing Officer. L to R: 2IC MAJ Terry Edwards, ADJT CAPT Andrew McLeod, unidentified, OC MAJ Daryl Hockings CSM, acting RSM WO1 Dave Thompson, unidentified, SGT Barrie Craymer, CAPT Bob Williams, centre file marker CPL Max Watson, right marker CPL Perry Burt, remainder unidentified, CO LTCOL Don Swiney MBE, COL COMDT COL Clem Sargent. .28) - Photo, black & white, July 1987, Air Survey Squadron salutes the Reviewing Officer. L to R: CPL Steve Hill OAM CSM, unidentified, SSGT Neil ‘Ned’ Kelly, WO2 Peter Tangey, WO1 Dennis Marshall. Followed by Lithographic Squadron L to R: SGT Graham Johnston, SGT Bryan Fauth, CPL Jim Ash, CPL Peter Swandale, CPL Roy Hicks, remainder unidentified. .29) - Photo, black & white, July 1987, Lithographic Squadron’s MAJ Mick Byrne salutes the Reviewing Officer. L to R: WO1 Dennis Marshall (Air Svy Sqn), SGT Graham Johnston, SGT Bryan Fauth, MAJ Mick Byrne, CPL Jim Ash, CPL Peter Swandale, unidentified (x2), CPL Lance Strudwick, CPL John ‘Flash’ Anderson, SGT Alan Virtue, CPL Greg Rowe, unidentified (x2), CPL Graham Hales, unidentified, CPL Paul Baker, SPR Colin Yeats, unidentified, WO1 Ken Slater, WO1 Doug Arman. .30) to .31) - Photo, black & white, July 1987, Lithographic Squadron’s MAJ Mick Byrne salutes the Reviewing Officer. L to R: SGT Graham Johnston, SGT Bryan Fauth, MAJ Mick Byrne, CPL Jim Ash, CPL Peter Swandale, unidentified (x2), CPL Lance Strudwick, CPL John ‘Flash’ Anderson, SGT Alan Virtue, CPL Greg Rowe, unidentified (x2), CPL Graham Hales, unidentified, CPL Paul Baker, SPR Colin Yeats, unidentified, WO1 Ken Slater, WO1 Doug Arman. .32) to .35) - Photo, black & white, July 1987, Cartographic Squadron’s MAJ Bob McHenry salutes the Reviewing Officer. L to R: MAJ Bob McHenry, CAPT Peter ‘Blue Blaskett, left file L to R: SPR Ross Collishaw, SPR Ben Lucas, centre file L to R: SGT Martin Evans, SSGT Ian ‘Rock’ Thistleton, SGT Eddy Jacobs, right file L to R: CPL Rod Skidmore, SSGT Phil Meagher, SPR Craig Kellet, unidentified, CPL Col McInnes, SPR Nick Cowan, unidentified, CPL Jeff Le-Fevre, SPR Richard Arman, CPL Dan Cirsky, SPR Tom Bloxham, CPL Peter Johnson, unidentified, LCPL Kenne Dempster. .36) - Photo, black & white, July 1987, Reviewing Officer - COL COMDT COL Clem Sargent returns salute..1P to .36P – There are no personnel identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr