35 mm colour positive transparency Mount - Agfacolor Service (Blue)hurstbridge, hurstbridge-arthurs creek road, monash bridge

35 mm colour positive transparency Mount - Agfacolor Service (Blue)hurstbridge, hurstbridge-arthurs creek road, monash bridge

35 mm colour positive transparency Mount - Agfacolor Service (Blue)eltham, pitt street, st margarets anglican church

1:35 scale model of M577A1 ACV, mounted on wooden baseLt Col F T Cron 4th/19th Prince of Wales's Light Horse "Ich Dien"model, m577a1, armoured command vehicle, cron

Year book for the Williamstown High School 1979 school year. Contains staff, student leaders, captains, sports results, camp details, student work.Black and white printed publication with card cover. 35 p.: ill.williamstown high school, 1979, high tide, yearbook

One of a group of items including lace and crochet collars, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. A jabot is a pleated frill of cloth or lace attached down the centre front of a woman's blouse or dress.Irish lace jabot. H 31.5 cm / W 35 cmjabots, lace

Kew Primary School is the oldest school in Kew and was established on November 1, 1870. It predates the commencement of State education with its genesis lying in the year the colony was founded, namely, 1851. Nicholas Fenwick was recognized as the founder of Kew when he purchased an area of 122 acres (Lot 87) on which Kew Primary School now stands.Photograph of 35 children in Grade 1, Kew State School, 1920. Inscription on front "Year 1920"; on reverse: "KH-285. Kew S. School. Donated by Mr Heward, 1978. Grade 1 1920." This photo, unlike 1978.0019 is on a cardboard mount.schools -- kew (vic.), government schools - kew (vic.), primary schools -- kew (vic), kew state school, kew primary school

Used in the construction of horse tackle C1910. imported and sold by Holden and FrostSold by Holden and Frost for military and agricultural use c1910 35 mm Brass ring used on bridle and reins for horse equipmentNilequine, military, agriculture, civillian, circa 1910

This is an example of Melbourne Legacy promotional material. In using a photo of a Legatee they tell the story of how ex-servicemen give their time and service to the families of 'his comrades who were not so lucky'. The main time of year for fundraising is September when Legacy holds 'Badge Week'. Often there is a celebrity who gives his or her time as 'Personality of the Year'. Examples are Sir Weary Dunlop (1992), Clive James (1993), the Scott family (1994), The Emmanuel brothers (1995), Daryl Somers (1996 and 1997), and Patsy Adam Smith (1994?). Was in a folder with marketing material from the 1990s to 2009, see items 01240 to 01258. The collection shows the types of marketing materials that were produced and the celebrities that were helping Legacy.An example of promotional material from the 1990s. Marketing material and photos were compiled and released to newspapers, also printed as brochures and sometimes as stickers and collection tin wrappers.Colour A4 promotional poster with a Legatee's photo x 35 copies.legacy promotion, badge appeal, legacy week

Rob Upson became a volunteer at the Bendigo Visitor Centre in 1998. The Staff produced a monthly newsletter called ‘The Grapevine’. Being reasonably new to Bendigo, Rob became interested in its history and began writing articles to share with the volunteers. He called them ‘Grapevine Cuttings’ under the pen name of ‘Merlot’. Rob wrote about 90 articles over a period of 12 years until ‘The Grapevine’ was finally pruned and shutdown. Rob is a valuable volunteer for the Bendigo Historical Society.Article 35 of 65 Newsletters in PDF format from the Grapevine collection. history, bendigo, grapevine cuttings, sly grog on the goldfields

This photograph was sent to Burnley in an envelope printed, "On His Majesty's Service" Centenary Celebrations State of Victoria & City of Melbourne 1934-35 Department of Agriculture, Melbourne and handwritten on it "Flood in orchard 1/12/1934 Mr. Jessep." Note by T.H. Kneen 8 April 1992, "Alex Jessep (left) with Tom Trahair. Periodically Tom would take leave to go back to his home town Yackandandah to test a new theory to find the lost gold seam at the Little Waterloo mine."Black and white photograph. George Russ and Frank Ellery examining the ground by the flooded river. Uprooted trees behind them.This photograph was sent to Burnley in an envelope printed, "On His Majesty's Service" Centenary Celebrations State of Victoria & City of Melbourne 1934-35 Department of Agriculture, Melbourne and handwritten on it "Flood in orchard 1/12/1934 Mr. Jessep."george russ, frank ellery, centenary celebrations, orchard, tom trahair, 1934 flood, alex jessep, uprooted trees

Dusky Moorhens are a medium sized, dark coloured water bird. They are located in the wetlands of eastern and south-western Australia. They can also be found in India, New Guinea, Borneo and Indonesia. These birds have a bright face shield located above the bill; however, the bright colour of this feature grows duller in females and young males during autumn and winter. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A Dusky Moorhen standing on a wooden platform with a paper tag attached to its left leg. The specimen has a sooty-black plumage with a yellow bill and black/yellow legs/toes. It has remnants of what would have been a reddish-yellow shield on its forehead. "18c Australian Coot. See Catalogue, Page, 35"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dusky moorhen, waterbird

The Buff-banded Rail is located on mainland Australia. It can also be found in south-east Asia, New Guinea and New Zealand. These birds are often seen individually or in pairs walking through the dense reeds and vegetations of wetlands or crops. This rail has a slow walk and often flicks its tail, which is raised, as they move. They are omnivore scavengers who feed on a large variety of invertebrates, fruit, seeds and vegetables. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen is in a standing position with its neck stretched forwards on a wooden platform. The Buff-Branded Rail has a pale grey/yellow eyebrow over the orange glass eyes and a pale grey bill. It also has an orange and brown coloured band on its breast. This bird is multicoloured with streaks of chestnut brown, black, white and a faint orange-brown. This specimen has a paper identification tag tied to its left leg.20D. / Land Raid / See Catalogue, page, 35. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, landrail, buff-banded rail

The beginning of standardised weights and measures began In Victoria when the Melbourne Observatory received sets of standard weights and measures, which had been tested in Britain against the then British Imperial standards. These included the primary standard yard and pound for the Colony of Victoria. Other standards of weights and measure held by shires and the administrative body's within the colony could then be compared to these primary standards. A Weights and Measures Act was passed in Victoria in 1862, establishing local inspectors throughout the colony. By the 1870s each local council and shire in Victoria held a set of standards that were used to test scales, weights and dry measures used by wholesalers, factories and shops. Every ten years the councils’ standards would themselves need to be rechecked against the Victorian Standards. The checking was done by the Victorian Customs Department in the 19th century, but with the transfer of responsibility for customs to the Federal Government in 1901, weights and measures function was retained by the Victorian Government and was shifted to the Melbourne Observatory. In 1904, a new building was erected at the south end of the Great Melbourne Telescope House, where the standard weights and measures and testing equipment was installed. This room had a large whirling apparatus for testing air meters and became known as the Whirling Room. When the Melbourne Observatory closed in 1944, the Weights and Measures Branch was formed to continue and this branch remained at the Observatory site unit until 1995. An example of a galvanised measuring jug made specifically to maintain government standard liquid measurements that were sold to the public. The probability is that this artifact was made around the first quarter of the 20th century and gives us today a snapshot of how imperial weights and measures were used before decimalisation and how a standard of measurement for merchants was developed in Australian based on the Imperial British measurement system. The container has social significance as an item used in Victoria as a legal standard measure to ensure that goods sold in Victoria were correct given the item is galvanised it was probability used for kerosene or petrol etc not for liquids used for human consumption. Galvanised Iron jug with rounded top, Inscription on handle at back. 2 gallon GV.35flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Small oval, head and shoulder portrait of a young man. He is wearing a jacket, shirt and tie. Photo mounted on cream card with dark red printing front and back.E. H. Speight, 35 Dunchurch Road, Rugbyphotograph, portrait, male, portrait of a young man, e h speight

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Fuji Group Pavilion, Osaka Expo '70, Osaka, Japan. (Architect: Yutaka Murata.)Made in Australia / 24 / MAY 70M3 / 35 (Handwritten)expo 70, osaka, robin boyd, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka and travelled to Osaka several times in 1969-1970. Boyd designed the innovative Space Tube, which had over 25 exhibition boxes, projecting from it. Amongst the topics covered were Australian scientific innovation (including brain research, immunology, Antarctic research, Snowy Mountains Hydro-Electric Power Scheme, rainmaking, and the night sky), Australian sport, house interiors, car manufacturing, Australian music and art, and Japanese-Australian relations.Colour slide in a mount. Osaka Expo '70, JapanMade in Australia / 35 / MAY 70M3 / 44 (Handwritten)expo 70, osaka, robin boyd, slide

Colour photograph of Bendigo 18 (Quarry Hill) crossing another bogie tram at one of the loops on the Eaglehawk line.On rear in ink "PMTT MMTB 35, Ball 40"trams, tramways, bendigo, eaglehawk, tram 18

Yields information about the Bucks Head Hotel and demonstrates the way the signals were set in Bridge St for either the Mt Pleasant or Victoria St routesBlack and digital white print from a scan of a donated negative of a driver leaning out from a single trucker to set the switch on the signal for either the Victoria St or Mt Pleasant routes. Has the Bucks Head Hotel in the background. Shows the pole the signal controller or switch was mounted on. Black and White print made from scan of negative. Original Negative stored with Negatives. Image rescanned from copy neg and updated 31/5/2020. See On this basis, the envelope and marking matches that of Reg Item 4158, photo of No. 40, by John Webster and assumed taken on the same day as Item 4157, 4158, 4168, 4178 - 11/4/1953. Contained within Envelope No. 33.On left hand side of the negative in ink is "EI 35".tramways, trams, sturt st, grenville st, signals, bridge st

Shows the truck of Ballarat tram 11 being cleaned, possibly before being loaded and transported to the Daylesford Museum, 9/1971. The tram has a Twin Lakes advertisement.Yields information about the work undertaken to clean trams possibly prior to being transported to a new location. The tram was given to the Daylesford Museum.Kodak duplicate colour slide, cardboard mount - TMSV Sales.In pencil "Ballarat Depot 35" and TMSV Sales stamp.sec, ballarat trams, cleaning, tmsv, tram 11, tramway, trams

Yields information about Ballarat's trams in the late 1960'ss and the street scape in Victoria St?, Yields information about Ballarat's trams in the late 1960'ss and the street scape in Victoria St?Black and white print of Ballarat 35, northbound to Lydiard St North, crossing the Railway level crossing with Moodys Provincial Hotel and the Ballarat "B" signal box in the background. The tram has a roof advertisement for Ilford film. Note the entry canopy to the hotel. Two copies. Photo by Wal jack, 18/11/1961. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 35 / Lydiard St North / 18/11/61 2920 / Wal Jack " Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, lydiard st, ballarat railway station, level crossings, tram 35

Photo of four trams at the intersection of Sturt and Drummond streets, on Music for the People day, 19/2/1950. See Inscriptions for details. Trams 13, 12, 34 and 35. Photo by Wal Jack, No. T652. On Kodak print paper. See item 9479 for a photo of tram 34 most likely at the same time. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative No. 863Yields information about tram services on an event day and Hospital corner,Black and white photographOn rear in ink. "Music for the People day 19-2-50" "No. 13 Gardens via Drummond Nth 12 City 34 Mt Pleasant 35 Gardens via Sturt St West" With "W Jack No. "T652" Copyright" stamp.tramways, trams, hospital corner, drummond st, sturt st, festival, tram 13, tram 12, tram 34, tram 35

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence

A River of Life: Eltham Peace Banner 1986 The Hiroshima Day Banner was conceived by Shire of Eltham Artist in Residence, Jacky Talbot and a number of other Eltham women as part of the “As We Are” community banner project. The women wanted to do something for Hiroshima Day and suggested that a workshop be set aside to make a banner. The group promoted it at the new Community Notice Board (Arthur Street and Main Road) on Hiroshima Day (August 6) and were photographed by the local newspaper publicising the group and drawing wider community attention to the remembrance of the day. Jacky Talbot, led the team who produced the banner, approximately 4.5 metres by 1.5 metres, of sewn and painted Australian flora and fauna. Workshops were held at the Eltham Community Arts Centre at Meruka House. Peace Banner Group members included Laurel Eckersall, Anne Laurence, Betty Johnson, Margaret Johnson and Joan Maclagan. One of the creators, Joan Maclagan, further gave expression in verse – Banner for Peace The 'River of Life' with about 30 other banners went on display in the “As We Are” exhibition held at the Eltham Community Centre on 9 October 1986, previewed by the Member for Greensborough, Ms Pauline Toner, and Eltham Shire President, Mr Bob Manuell. The full display continued in Woolworths (now Coles) Arcade. The banner was also carried by the group in the 1986 Eltham Festival Grand Parade on November 8, along with other group banner projects including that of the Eltham District Historical Society, after which they were displayed in the Shire of Eltham’s tent in Alistair Knox Park.betty johnson, eltham peace banner, hiroshima day banner, laurel eckersall, "as we are" community banner project, banner project, river of life banner, margaret johnson, meruka house, community arts centre, jacky talbot, eltham shire council artist in residence