Poster advertising the presentation of the 2005 University of Ballarat Arts Academy Musical "Sweet Charity' at Her Majesty's Theatre, Ballarat. Director - Kim Durban. Musical numbers and Choreography - David Wynen. Musical Director - Vicky Jacobs. Designer - Frank Lilley. Music by Cy Coleman. Lyrics by Dorothy Fields. Book by Neil Simon. By special arrangement with Tams-Witmark Music Library Inc. The production was supported by the School of Information Technology and Mathematical Sciences, University of Ballarat. There were five evening performances starting at 8.00pm and two matinee performances starting at 2.00pm from Friday 4th March to Saturday 12th March, 2005. Tickets were purchased via MajesTix. Prices: Adult $29.50; Groups $24; Concession $21; Student $14Original Coloured poster kim durban, david wynen, vicky jacobs, frank lilley, cy coleman, dorothy fields, neil simon, her majesty's theatre ballarat, tams-witmark music library inc, majestix, university of ballarat arts academy, musical, musical theatre, ballarat arts academy

ACRONYMS: The name of the organisation is Australian Trust for Conservation of Nature (ATCV) from 1981 to 1999 and Conservation Volunteers Australia (CVA) from 2000 onwards.............................................Last used in 1999 the Echidna logo was used for 17 years. It was designed by John Zulic, then a young graphic designer at Sovereign Hill Outdoor Museum in Ballarat, and by 2010 the longest serving employee. John was briefed by Peter Hiscock, then director of Sovereign Hill and also President of ATCV, in 1982 to design ATCV’s first logo. Through the image of the echidna John Zulic tried to capture a unique Australian identity (a combination of uniqueness, strength, resilience, role in a balanced habitat and a national feel) for a fledgling local group with big plans. John presented concept to Tim Cox and Peter Hiscock – both were enthusiastic: the rest is history. For many years newly arriving volunteers were photographed with the mascot.The echidna was synonymous with ATCV for many years. The logo appeared on team vehicles and buses and on all publications until 2000. For many years new volunteers had their photograph taken with "Eddy". Even today overseas visitors to CVA's head office clamour to be photographed with it.This item is a taxidermal (preserved and stuffed) echidna. The echidna is an Australian marsupial animal resembling the porcupine or hedgehog found in other continents. It is a nocturnal, burrowing, egg-laying mammal of the genera Tachyglossus and Zaglossus of Australia, Tasmania, and New Guinea, having a spiny coat, slender snout, and an extensible sticky tongue used for catching insects. NOTE: The provenance of this item is not yet established but it has been the unofficial "mascot" of ATCV/CVA from soon after foundation till the present.australian, echidna, mascot, logo, wildlife

The dwelling is representative of the development of the Georgian Revival style in the 1920s and 30s and its popularity amongst the upper-middle classes as a result of the work of William Hardy Wilson and Professor Leslie Wilkinson. It is of importance as a fine and largely intact designer/builder example of the Georgian Revival style, with American Georgian Revival influences. The dwelling embodies the principal characteristics of the style. American Georgian Revival influences are noted in the deep eaves with modillions, central broken pediment, brick quoins and presentation of the central porch. The garden wall, with arched opening, in the side setback appears to be an early or original landscape feature, based on the comparable brick work detail construction with that of the house. Considering this, it is the only early landscape feature extant which assists in providing some understanding of the original landscape layout of the property. (Criteria D and E) (Boroondara Planning Scheme)Colour photographic positive of 264 Cotham Road, Kew. The residence was constructed in 1931 for the Howitt family. 264 Cotham Road, Kew (HO813) is an individually listed building of significance under Amendment C294 of the Boroondara Planning Scheme. 264 cotham road -- kew (vic.)

The letters J.W. E. refer to the artist - John Wolfgang Elischer (1891-1966). He was an Austrian sculptor and medallist. He trained at the Academy of Vienna from 1908 to 1911; won the Prix de Rome in 1909; and c1910-11, practised under Rodin in Paris. He arrived in Australia in 1935. During his first year he was an industrial designer for pottery. Later works include the King George V Memorial in Bendigo (1938), a bronze fountain for Sir Russell Grimwade in Toorak and a bust of Archbishop Mannix for Newman College, University of Melbourne. The medal was awarded to the school children in 1951 to mark the fiftieth anniversary of the Federation of Australia. The design was chosen after a competition, with the valuable cash prize of two hundred guineas. This is part of a large donation of material relating to the Deakin, Mair and Young families, all with connections to the SUrrey Hills and Mont Albert area.This is one example of the work of Amor Mint. In 1874 Willliam Joseph Amor was apprenticed to English medallists J.S. and A.B. Wyon. Nine years later he went to Paris, where he remained until 1887. Intending to go to America and work his way home to England, he visited Sydney en route and was persuaded by Robert Hunt, Deputy-Master of the Sydney Mint, to stay and start his own business. Amor established the business in 1888 and married the daughter of the Chief Engineer of the Sydney Mint. In 1917 Amor became a limited company, in which principal employees were given an interest. In 1935 Amor sold his share to A.H. Byatt, retaining a position as Advisory Director of the business. Amor’s company became Sydney’s major medallist and die-sinker for over a century thanks to its ability to meet demand for locally produced, high-quality commemoratives.A round medallion with a loop hole at the top. Front: A man advancing to the right sowing seeds by hand; at left 1901, at right 1951 in tiny letters near ground right the artist's initials, J.W.E. Back: At top a star; below which are the words, FIFTY YEARS / COMMONWEALTH / OF AUSTRALIA. Below this are seven ears of wheat representing the States and Northern Territory of Australia."1901", "1951", "J.W.E.", "FIFTY YEARS / COMMONWEALTH / OF AUSTRALIA" mont albert central school, laurie young, laurie newton, education, commemorative medals, federation, 1951

‘Strathmore’ Victoria Crescent (dem.) Joseph Sutton Crow and his wife Jessie (nee Temby) bought this property which had belonged to the Purbrick family in 1924. Sutton was an amateur ‘planner and landscape designer’ and had much pleasure in planning the use of their garden of 100 feet by 400 feet. While part remained rural with sheep, an orchard and vegetable garden, he laid out sweeping designs for the front garden which Jessie enjoyed converting into a garden worthy of display and which did gain prizes in the Herald Garden competitions of the 1930s. They entertained friends and often had as guests University Conservatorium staff and visiting musical personnel. They also opened the garden for local church fund-raising functions. Children, Jean and Ray, had areas set out for their recreation with pets and activities areas. The donor was their daughter. A black and white photograph of a Californian Style weatherboard house, painted in a dark colour. There is a well established garden in front. There is a bay window at one side of the house.house names, californian bungalow style, weatherboard, victoria crescent, surrey hills, (mr) joseph sutton crow, (mrs) jessie sutton crow, purbrick family, 1924, herald garden competitions, 1930-1939, (miss) jean sutton crow, (mr) ray sutton crow, 'strathmore'

The Keith Wingrove Trust conducts a competition among Australian artists, graphic designers and students for the production of Ex Libris Bookplates. The competition is called The Australian Bookplate Design Award. The purpose of the competition is to increase interest in and to attract publicity to the artistic value of bookplates. Although the competition is referred to as 'Australian' there is a category of award open to International artists. This bookplate was part of the 2013 Australian Bookplate Award. Wim Zwiers (b. 1922, Holland) Zwiers studied at the Academy of Fine Arts in Rotterdam from 1940 and graduated from there in 1944. Renowned as copper and wood engraver Zwiers became a teacher at an academy in Groningen. Zwiers has produced a few hundred bookplate. Around 1992 started to use the computer making ex-libris and other small graphics. Although he was not the first who started making computer exlibris, he surprised many by starting at age seventy. Framed etching - a bookplate for Zelma and John Gartner featuring a woman reading in the foreground and a weatherboard house in the background. Gift of the Keith Wingrove Memorial Trust, 2015Edition: 170/200 Signed: Wim Zwiersartist, artwork, printmaking, framed bookplate, available, bookplate, zweirs, zim zweirs, life drawing, keith wingrove memorial trust, australian bookplate design award, john gartner, zelma gartner

Emily Floyd is a Melbourne-based artist who works across sculpture, printmaking and public installation. In It’s Time (Again), Floyd graphically presents Gough Whitlam’s election speech, delivered before he became Prime Minster in 1972. Floyd’s training as a graphic designer is evident in the way in which the text’s presentation ties form to meaning. For example, the circular arrangement of the words resembles a vinyl record to be played again and again, implying the speech is worth revisiting. The circular arrangement also references other forms of timekeeping, such as the growth rings of a tree; the face of a clock; the cyclical nature of time, with its diurnal, lunar, seasonal and annual cycles. Floyd's work implies that social and political issues are cyclical in nature. It emphasises the necessity, once again, for proactive measures to ensure a quality, human-centered existence for everyone.

Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

When I visit Merri-bek I wonder, when I step on the tarmac of the Barkly Square carpark, what was here before? In fact, at this spot and across Brunswick there were clay pits, which would feed the pottery workshops in Brunswick that produced the pottery, gargoyles and decorative items for Marvellous Melbourne homes and suburbs. Marvellous for those who had profited from gold, property and finance, not so for those working in the clay pits. My print is a contemplation on what is beneath our feet and our relationship to the ground. I am a design academic working at RMIT University and began my print and design practice on a Golding foot-treadle Letterpress machine.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Merri-bek’s bi-annual collection and the communities’ tendency to dump rubbish makes these temporal sculptures part of the visual landscape of walking in Merri-bek. The collections of personal items, untold stories and connections which we all piece together whilst on an afternoon stroll. Over the years trends in pet ownership and technology advances can be documented in discarded items, also commenting on wealth and material value of objects. I have been living, parenting, working and volunteering in Merri-bek for the last 9 years. As time passes the community and landscape shift and change as does my connection to it. A once dedicated art practice is now tumbled around with life and family. Photography, video, drawing and painting are used to explore ideas around the everyday and meaning we attach to small moments of time.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

With two young kids, I often find myself at Coburg Lake on a weekend, playing amongst the natural beauty of the park area, rugged embankments, local birdlife, and... ‘Bin Chicken Island’. Bin Chicken Island has become a running joke in the community, known for its wafting stench and as an environmental eyesore (never go to the park on a warm day with an easterly breeze). So much so that someone added a campground listing on the island to Google Maps. Whenever I drive past the lake, I always keep an eye out for disgruntled backpackers who have realised that the only camping to be had is by the Bin Chickens themselves. I am a local graphic designer who lives in Pascoe Vale and works in Brunswick. I head up the design studio, Atticus Design.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

The image is based on a 3D component of one of my recent series of jewellery artworks. The heart metaphorically alludes to two locations of Merri-bek. One is Moreland Road, the other is Wallace Street in Brunswick. These locations pinpoint a time of collective trauma and communal experiential reflection. I was born in Brunswick in 1984 and have lived and worked there since. Brunswick for me is filled with stories of family, community, growth, tragedy and history experienced across a Greek Diasporic framework.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

My work is dedicated to the animal residents that cohabit with us in the suburbs. I focused on the Red Wattlebird, as it is always a welcome visitor across the gardens and parks of Merri-bek. The frayed edges of the page from my notebook are reminiscent of the act of note taking and how we remember and observe things in our daily lives. I am a local artist and writer living in Naarm with a studio in Coburg as part of Schoolhouse Studios.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Ancestral Bouquet is a visual homage to the different plant species each migrant community brought with them to the lands of Merri-bek. It is a celebration of these plant communities and those (elderly migrants) who still know and practice traditional forms of food harvest and preparation. I was born and raised in unceded Wurundjeri Willum Country, in Coburg. My Father lived in the Southern Suburbs of Naarm as a refugee from Palestine, and eventually found Coburg as a place he could fit in as a migrant. My arts practice varies in modalities, and always comes back to the story of displaced cultures, my folklore, and my connection to Coburg and the Merri Creek.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Certificate or registration of the Historic Vessel the 'Idler' which is currently also at the Seaworks Maritime Discovery Centre.This certificate registers the 'Idler' as a surviving vessel of relevance to Australia's maritime heritage.Certificate from the Australian Register of Historic Vessels from the Australian National Maritime Museum. For the vessel, the Idler. Signed on 25th May 2012"Australian/ Register/ of/ Historic Vessels/ Australian National Maritime Museum." "The vessel/ Idler/ has been accepted into the Australian Register of Historic Vessels/ on/ 25 May 2012/ signed/ Kevin Sumption Director/ Australian National Maritime Museum." "The Register records surviving vessels of relevance to Australia's maritime heritage. It is/ building a national picture of boats and their designers, builders and owners from around/ Austrlia, to promote understanding of their connections with their communities past and /present, and to encourage awareness and planning for their preservation and use./ The ARHV is managed by the Australian National Maritime Museum in association with /Sydney Heritage Fleet."

Eighteen photocopy photographic images of Princess Theatre exterior and interior. 1. Royal Princess Bendigo main auditorium, 2. Royal Princess Bendigo Auditorium dome and chandelier, 3. Royal Princess Bendigo main auditorium views from upstairs circle, 4. Royal Princess Bendigo. Downstairs front stalls, 5. Royal Princess Bendigo View Street closed Saturday 4th May 1963 last Movie 'Guns of Navarone' became amaco service station designers Cowper and Murphy State Library of Victoria, 6. Royal Princess Bendigo Downstairs foyer, 7. Princess main entrance, 8. Princess circle entrance, 9. Princess Theatre was built behind the Albion Chambers, 10. Royal Princess Bendigo 1875 2000 seats 1800seats later, 11. Royal Princess front stalls and stage, 12.. Advertisement Bendigo Advertiser Tuesday December 22 1908 top right hand corner, 13. Advertisement Bendigo Advertiser Thursday march 10 1910, 14 Advertisement Bendigo Advertiser Tuesday July 26 1910, 15 Advertisement Bendigo Advertiser Thursday July 28 1910.bendigo, buildings, princess theatre

Set of three items associated with a letter from Ken Craven, Secretary of the AETA to John Belot. .1 - White DL size envelope with the five of the Oct 1989 Historic Tramway Stamps with the tram cancellation stamp dated 11 October 1989. Has the "Australia's Historic Tramways" logo in the lower left hand corner, hand addressed to John Belot and the stamp for the stamp show Melbourne 18-22 October 1989 in the bottom right hand corner. On the rear has details of the stamp issue, W.K. Craven's address stamp, and two cancellation stamps - Blackburn 11 Oct. 1989 and Caulfield Post Office stamp. .2 - Handwritten letter from Ken Craven, Secretary of the AETA to John Belot, noting the exhibition at Box Hill and his forthcoming trip to NZ and the Transport Art ticket enclosed. .3 - Transporting Art tram No. 13 ticket No. 0085, dated 17th July 1989, Jenyns tram (Lorraine and Bob). See also Reg Items 470 to 474 for other examples and associated materials and 510 for a Poster. On the rear are detail of the stamp issue, the designers and cover design.trams, tramways, stamps, australia post, aeta, letters, transporting art

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

This certificate is an invitation to the opening of the first Parliament of Australia on January 1st 1901 in Melbourne. On this date the six Australian self-governing colonies were federated to become the six states of Australia. The designers of the certificate were Norman Lindsay and John Longstaff. This particular invitation was sent to George Rolfe and his wife and two of his stepdaughters, Annie and Florence. George Rolfe (1836-1919), a tea merchant from Melbourne, began buying blocks of land near the mouth of the Hopkins River in Warrnambool in the 1870s. By the early 1880s Rolfe owned 50 acres in the town, including farming properties and used the buildings near the mouth of the Hopkins as holiday accommodation. He called his property Lyndoch which he improved with the addition of stables, chaff and bone sheds, jetty, boathouse, reservoir, water well and windmill and extensive gardens and he spent most of his later life in this Warrnambool area. Lyndoch today is the site of an aged care facility. This certificate is of considerable importance for two reasons: 1. It is an important memento of a signal event in Australia’s history - the Federation of the States in 1901. 2. The certificate was an invitation to the family of a prominent Warrnambool person – George Rolfe of Lyndoch.This is a piece of thick paper with illustrations and decorations in brown, red, blue, yellow and green tonings. The lettering is in white with coloured capital letters. The images include the shields of the six Australian States, the Coat of Arms of Britain and Australia, outlines of two trees (gum tree and oak tree) and three symbolic female figures representing Justice, Britannia and Australia. The top border decoration represents the waratah flower. The names of the invitees on this certificate have been handwritten in black ink. ‘Opening of the Parliament of the Commonwealth by His Royal Highness The Duke of Cornwall and York’ ‘Mr G and Mrs Rolfe and the Misses Rolfe (2)’ george rolfe of lyndoch, federation of australia, history of warrnambool, george rolfe, opening of first parliament of australia

Edith CURNOW (1913–2003) Ballarat | Australia Edith Gertrude Curnow undertook Industrial Art teacher training at the Ballarat Technical Art School, with a five-year Senior Technical Scholarship, between 1926 and 1931. She taught for a time before marrying compositor James Lawn in 1937. She reportedly continued to teach at the Ballarat Technical Art School as Edith Lawn. She retired in 1972 at which time she was the Lecturer in Charge of Craft Edith Lawn was a member of inaugural Ballarat School of Mines Old Girls Association, and served as first Press Correspondent. Her daughter, Valda Lawn (later D'Angri) also attended and taught at the School. One of the subjects Curnow studied was Historic Ornament. This subject spanned time and space to inform and inspire designers. Students studied the influences of history, geography, culture and climate on ornamental aesthetics, including the tools, materials and methods applied to decorative objects, interior design and architecture.Two books containing student notes and drawing relating to courses at the Ballarat techncial Art School in 1931. The work was undertaken by Edith Curnow. .1) - Foolscap red covered book on Historic Ornament. Includes History of Ornament, Egyptian Ornament, Assyrian Ornament; Greek Ornament, Roman Ornament, Pompeian Ornament, Byzantine, Romanesque Ornament, Norman, Decorated Gothic, Perpendicular Gothic, Renaissance. .2) Green quarto book on Historic Ornament Part 2: Costume. The work includes Egyptian Costume, Greek Costume, Roman Costume, Richard I, Crusades, Edward III, Charles I, Charles II, George II.ballarat school of mines, ballarat technical art school, art history, edith lawn, edith curnow, val lawn, val d'angri, curnow, lawn, ornament, costume., ballarat technical art school library, artists workbook, journal, historic ornament, university women, ballarat school of mines old girls association

On 19 April 1915, Brighton City Councillor T. Wilson moved to install a roll of honour in the Brighton Town Hall. "The men who had gone to the war deserved all the praise and consideration that could be given them. Nothing could be said too highly in their favour." The Roll of honour was unveiled at the Brighton Town Hall on Armistice Day, 11 November 1928, by the mayor, Cr. H.E. Pullman. It contained the names of the men of the municipality who gave their lives in World War I. A service was conducted by the Brighton Ministers' Association, under the presidency of the Rev. H. B. Hewitt, of St. Andrew's Church, Brighton. The roll of honour was made by H. Goldman Pty, Ltd, a Melbourne cabinet maker and designer who worked exclusively in Australian timbers. The two metal panels/tablets on either side of the honour roll were added at a later date and commemorate those who died in World War II.Polished wood and metal honour board attached to wall in the Brighton Town Hall. The board is a rectangular shape with a semi-circular curved top at the centre. The central section is a dark carved timber Honour Roll for WWI listing the names of Brighton residents who gave their lives in service 1914—1919. To the left and right of the honour roll are black metal panels/tablets that were added at a later date which commemorate those who died in WWII 1939—1945. The central section contains the honour roll of 228 names which are inscribed in gold with black shadow across three panels which are divided by four decorative round columns. The middle panel is arched at the top and under the arch is a decorative wreath in relief containing the City of Brighton crest within it, below which is "LEST WE FORGET" in gold lettering. The top of the left and right wooden panels each have carved decorative eucalyptus foliage and a bow hanging in the middle. A piece of metal with an incised quote "AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE WILL REMEMBER THEM" is attached to the bottom edge of the central section. Below the metal bar on the left and right panels are the dates 1914 and 1919 in gold lettering, and in the centre "TO COMMEMORATE HEROIC & SUPREME SACRIFICE". The cast metal side panels are set back slightly from the central section and contain decorative wreaths at the top and quotes under them. The left panel has the incised inscription "IN GRATEFUL MEMORY OF THOSE WHO GAVE THEIR LIVES IN THE SERVICE OF THEIR COUNTRY IN THE SECOND WORLD WAR 1939—1945" and the right panel reads "GREATER LOVE HATH NO MAN THAN THIS THAT A MAN LAY DOWN HIS LIFE FOR HIS FRIENDS 1939—1945". They have square columns on their far ends and the capital of the columns and top and base decorations mimic the original timber design. brighton, roll of honour, honour board, lest we forget, brighton town hall, commemoration, wwi, world war i, wwii, world war ii, brighton city council, bayside, military, service, war memorial, h. goldman, harry goldman, h. goldman manufacturing company

“The Keeper of Pathways is a simple, secular office. Her job involves the maintaining of routes through and within the forests, and the lighting of night paths. She keeps a team of designers, workers and artificers, who must constantly strive to keep the wayrights free from invading undergrowth, so that they may admit safe and well-lit passage for all travellers. Not an exciting job, but one which is vital to communication between groups, and to the general safety of Forest dwellers. The forest paths (wayrights) are lit by strings of small lights made from a species of glowing fungus, which is specially cultivated in the mountain caves. A whole team of workers is responsible for the growth of the light fungus, taking shifts as a public duty. No Forest Dweller like caves, so the shift-work is shared out as a public service, one which each person must carry out at regular times, dictated by the clerks of the Keeper of the Pathways.”-Inga Hunter

Purchased from an opportunity shop, this dress is a stage costume bearing the label of Bonn & Mackenzie, a prominent UK costume designer from the 1950s to the 1970s. The dress appears to have been worn by June Bronhill (1929-2005), a prominent Australian opera singer and actress, whose name is handwritten on the label. Born June Mary Gough, she began using the stage name of Bronhill in 1952 in honour of her NSW home town of Broken Hill as a form of thanks to the local community who had helped raise money to send her overseas for professional training as a singer. Bronhill trained in London and gained early exposure with the English National Opera. She went on to star in many theatrical productions in Australia and the UK. She moved back to Australia permanently in 1976, and in 1980 was cast in her first television role as Mrs Crawford in the Australian version of 'Are You Being Served?'.Full-length short-sleeved dress of white cotton, lace and nylon, featuring elaborately ruffled sleeves and vertical stripes of lace on the skirt and bodice. The dress is open at the back, fastening with hooks and cotton ties to facilitate quick costume changes.Label, white cotton with red text: "BONN & MACKENZIE LTD. / TEMPLE BAR 1393". Handwritten underneath in black pen: "JUNE BRONHILL".june bronhill, bonn & mackenzie, theatre costume

Reginald (Reg) WARNOCK (1915-1991) Reginald William Warnock undertook the Commercial Art course during the 1930s. On completion, he worked as a designer at Paton’s Advertising Service, Melbourne. Commercial art subjects between 1915 and 1939 reflected changing practises and industry requirements, with Ballarat graduates in demand. In the 1936 Ballarat School of Mines Annual Report it was stated: "It is my pleasure to report a most successful year in the Technical Art School. I the Annual Poster Competition for Technical Schools, organised by Wiltshires Pty Limited, 16 prized valued at 33 pounds 8 shillings - out of 23 prizes valued at 56 pounds - were won by our students. R.W. Warnock moved from Ballarat to Moonee Ponds towards the end of March, 1937. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Commercial art Framed original poster completed at the Ballarat Technical Art School by R.W. Warnock. It shows Oil pouring from a bottle in front of a steam engine. Please use the comment link below if you can assist with information about R.W. Warnock."For power and efficiency" "Mobil Oil"art, artwork, warnock, mobil, oil, poster, r.w. warnock, available, alumni, locomotive, steam engine, motor oil, advertisement, reginald warnock

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

Mark Cowley Lidwill was awarded an Honorary Fellowship in 1954 after his retirement to honour his working life.Mark Cowley Lidwill was born in England in 1878. His family moved to Melbourne in 1894. Lidwill studied medicine at the University of Melbourne, graduating with honours in 1902 and achieving a Doctorate in Medicine (MD) in 1905. Soon after graduation he moved to Sydney and in 1913 was appointed as the first lecturer in anaesthetics at the Royal Prince Alfred Hospital. That year Lidwill became the first person in the world to catch a black marlin with rod and reel. The event was celebrated in newspapers throughout the country and the marlin skeleton is now on display at the Australia Museum. Lidwill was also the designer of a machine which could deliver anaesthesia mechanically. Compact and portable, the machine delivered precise, although variable, concentrations of ether. Lidwill is also credited with developing the world’s first pacemaker. In a letter he wrote to Harry Daly in 1955, Lidwill was ambivalent about the fate of the machine: “No one would be bothered with it and they thought I was mad”.Printed certificate from the Faculty of Anaesthetists of the Royal Australasian College of Surgeons (RACS) awarded to Mark Cowley Lidwill as an Honorary Fellowship. Printed in black ink at the top of the certificate is the RACS coat of arms. The certificate is dated 26 June 1954 and has been signed by Harold R Dew, President of the College, and other members of the executive.mark cowley lidwill, faculty of anaesthetists, honorary fellowship, royal australasian college of surgeons, cardiology, pacemaker, royal prince alfred hospital, doctorate in medicine

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. The equations would provide answers to the required length of thread (often measured in weight as opposed to distance) of a selected textile. The sample and appropriate thread would be needed for mass production at a commercial mill.Blue textured vinyl forms the covers of this notebook. On the front of the inscription is visible in gold text. Internally, small font black writing on yellowing pages forms most of this notebook. Pp.128 published pages with calendar and spare pages for notes forming the second half of this notebook. Front Cover. Words, printed. WITH THE COMPLIMENTS OF / NOEL P. HUNT & CO. PTY. LTD.textile design, textile calculations

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. Once a pattern has been selected for mass production, a master card is produced. A mastercard shows exactly how to replicate the designs and colours depicted on the sample attached. “Ends” is the technical word to describe a vertical band and “picks” describes a horizontal band.Brown card with fabric sample stapled to the top right. Writing is present on the left and bottom of the card detailing the information applicable to the design of attached fabric. 14 individual Masetercards in collectiontextile calculations, textile design

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 Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored