White menu and toast list for the Annual Mayoral Banquet by Cr. Jacob Cohn, Mayor, Tuesday, 16th April, 1889 at the Shamrock Hotel. On the front, on the left are three green grass stalks with three gold and copper flower heads and gold printing on the right. On the inside on the left is the menu and on the right, the toast list. Printed in red with gold border. On the back cover is a sketch of the Town Hall and printed 'Councillor Jacob Cohn, Mayor. Tuesday, 16th April, 1889. It has a double border. Printed by J. Robshaw, Stationer, Sandhurst.bendigo, council, mayoral ball, menu and toast list for mayoral banquet, cr jacob cohn, f wilkins, cr hayes, cr harkness, cr bailes, cr carolin, t j connelly esq, cr o'neill, cr hoskins, cr abbott, j robshaw

Black and white image mounted on cream board : image shows large group of men, women and children, sitting, standing and reclining on grass. Eucalyptus trees in background, horse grazing. Man at rear of group is seated on a horse. Man behind horse's head is pouring a bottle into a glass. Circa late 1800's ? Potentially picnic is at Ravenswood. Appears to have Big Hill range in background, road with white posts running across background. On bottom of image on board ' W.H. Robinson, photo, Bendigo'W.H. Robinson, Bendigocottage, miners, bendigo, picnic, family, ravenswood. photographer w. h. robinson, bendigo.

Black and white photograph. Three females in costume. Floor length dresses, hats, standing on grass in park with large crowd behind. Inscriptions 'copyright' Bendigo Advertiser' Bendigo Advertiser Photographic Service. For re-order quote CD 266. On back, purple circular stamp 'Royal Historical Society of Victoria, Bendigo Branch' '1969', '218', '97', 'MP 181'. History of object - previous Acc No. 'MP 181'. James Lerk 'Bendigo Centenary?'. Helen Mainka 17/11/2000 'Female at L - Norma Young?'person, group, centenary, see also 2000.511.01, 2000.513.01, 2000.514.01, 2000.515.01, 2000.516.-01, 2000.517.01, 2000.518.01, 2000.519.01, 2000.20.01, 2000.521.01, 2000.522.01, 2000.523.01, 2000.524.01

Black and white photo: 3 storey rendered building with parapet. 8 columns at front. Driveway with grass and garden beds each side. Hinged traffic barrier at front left. Motor vehicles in front of building. In image on building ' Anne Caudle Centre' on back in grey lead pencil O 24. ( Noelene Wild 7.2000 Photo, Peter Hyett 1995. Anne Caudle Centre, main entrance from Barnard Street. ( formerly Home and Hospital for the Aged, originally Bendigo Benevolent Asylum )Peter Hyattbuildings, hospital, anne caudle centre

A dark wooden plaque with the Victorian coat of arms in metal relief of two female figures standing on a mound of grass on either side of the Southern Cross shield. The figure on the left represents Peace and holds an olive branch, while the figure on the right personifies Prosperity and holds a cornucopia. Above the shield is a knight's helmet and a kangaroo holding an Imperial crown. The motto 'PEACE AND PROSPERITY' is on a banner below the shield and under that a banner read's 'VICTORIA'S 150th YEAR' and the dates 1834 and 1984. The plaque is numbered 59 of 1,000 on the reverse.victorian coat of arms, plaque, shield, coat of arms, peace and prosperity, victoria's 150th year, heraldry

A large hardcover children's book with the title Against all Odds - Adventure Stories for Boys printed in white and black lettering at the top. The spine has the title in black letters with an African porter drawn beneath. The front cover has a wrap around with the back cover of a coloured illustration of hunters in Africa shooting at a rhinocerous with local porters running away. There is a printed bookplate on the front endpaper and a coloured frontispiece opposite the title page of two tigers sitting on rocks in the grass. There are coloured plates and black and white illustrations throughout. fictionA collection of adventure stories for boys written by various authors.adventure stories, children's fiction

Information display card regarding the 'Big' Deborah Gold Mine, located near the junction of Abel and Adam Street, Golden Square. Earliest work recorded 1860. Shaft 2076 feet. Operations suspended in 1952. Gold yield 51,935 ounces. Battery shed still on site containing a 5 head stamper which was originally a 20 head stamper. The battery was manufactured by Horwood's Foundry, Bendigo. Photos of mine site taken in 2012: a.Engine room concrete footings, iron work visible. Pepper corn trees in background. Pampas grass in foreground. Steel mesh fence on RH side, enclosing the poppet head site. b. Concrete footings, peppercorn tree in background. c. Corrugated iron shed constructed over the stampers. Steel mesh front. d. Steel poppet head, no winding wheel at top. Pampas grass in foreground. e.. Stamper shed and steel poppet legs in background enclosing dilapidated wooden poppet head legs. f. Close up image of weights in stamper room g.Winding wheel on stampers h.Looking upwards to top of stampersbendigo, mining, deborah gold mine

This copy of an original photograph created in the early 1900s details the "horse and cart" era when the normal transportation of the day was, in this rural setting, exclusively by horse and cart. The importance of this particular photograph to the subjects can be seen by the formal suits worn by both subjects.The natural bush and grassed backdrop have not been "touched up". The dray behind the horses is barely visible (fog like aperture). The lad , John Cooper was 14 years old when this photograph was taken. Both were in the process of harnessing four horses to "hook up" on the dray behind them. From their attire it looks like a trip to town or "the church".This photograph of life on a rural property in the early 1900 shows the rough and hard (physically) life in rural areas before great mechanical revolution/evolution post World War II. This was a time in the Kiewa Valley when most transportation was by horse drawn carriages and transportation routes where dirt roads with potholes. The significance of a local pioneer "family" encapsulated by this photograph cannot be reproduced as effectively in any other form. This digitised scanned copy of an original photograph of four work horses is on 200gms Fujicolor (Fujifilm) Crystal Archive paper has a silver side on which the image has been printed and a matt reverse side.The darker slightly "blurred" image has had a white frame placed over it at the time of encapsulation to provide the finished photo with a frame. This method highlights and focuses the view into the photograph. It is a clever way to permit the eyes to focus into the image to give it a greater third dimensional aspect. on the reverse side hand written(in pencil) "John Cooper & Paddy Cullen (itinerant worker) on grandfathers place (opposite Nesta Drews place) (orange Grove). "Grandfather emigrated from England with Ryders""orange grove " property, early tawonga life style, john cooper, paddy cullen, harnessing working horses

Thousands of life jackets have been laid out on the grass in Parliament Square in London, as world leaders meet at the United Nations in New York to discuss the refugee crisis. The 2,500 jackets used in the one-day "life jacket graveyard" installation were all worn by those who tried to make the crossing from Turkey to the Greek island of Chios. More than 600 of the life jackets on display were used by children, but most of them are pretty useless. A lot of the life jackets provided by people smugglers are virtually fake, and actually soak up water instead — several of those displayed were sliced open. life jackets, refugees, installation

One of 15 A3 sheets with copies of postcards on each page. Shirley Jones Collection.Copies of postcards: Left side from top to bottom: 1. Eastern Beach Cowes Phillip Island. 2. Postcard with 7 Souvenir photographs of Phillip Island. 3. Lovers Walk Cowes Phillip Island. 4. Cowes Pier taken from a boat. Right side from top to bottom: 1. Cowes Pier with many people at the end of the Jetty looking at a Sailing Ship. 2. Lovers Walk. 3. The Cowes Pier in the background with 3 children on the grass in the foreground. 4. Cowes Pier looking towards Cowes.Left side from top to bottom: 1. "Valentine Series 3395 - Eastern Beach Cowes". 2. "Phillip Island - photographed for H Gullifer The Corner Store Cowes" 3. "The Rose Series P654 - The Lovers Walk Cowes Phillip Island Vic". 4. "Cowes". Right side from top to bottom: 1. "Cowes Jetty Phillip Island Vic". 2. "The Rose Series P687 - The Lovers Walk Newhaven Phillip Island Victoria". 3. "The Pier Cowes Phillip Island. 4. "Cowes Pier Phillip Island - H Gullifer The Corner Store Agent Fairlam Photo".cowes eastern beach, lovers walk cowes, cowes pier phillip island, cowes jetty, shirley jones collection, thelma astbury

Black and white photo of a large group of people standing beside a pool which has been dug from the surrounding grassed area. The group is a mixture of adults and children. Some of the men are holding long poles and one boy a shovel. In the background sheep are grazing behind a high fence. Written on the front of the photo: Early Pool Site Bgo East. Written on the back of the photo: Bendigo East Pool the Beginning Land was donated to the Committee by Mr Moog who owned large amounts of property in the area. It was then called Moog Park then (not decipherable) then Eastern Park.recreations, sports, swimming

Artwork. Norman Penrose collection: (1) Coloured pencil drawing of a homestead on a hill. Two people in front of the house. In front of the house is a bucket sitting on a box or a well. The house has another building beside it. They both look like log construction. Drawn on grey paper. (2) Tan drawing on light blue paper with a two story building in the background. A man on a ladder is working at the window. Two people are at the other window. There is a tall tree beside the building. In front of the building is a motor car. Three people are having a picnic on the grass beside the car.drawing, pencil, bushmans homestead, norman penrose collection, bushman's homestead

The Ball Court Hotel was built in the late 1870's by John Cahill. It remained with the Cahill family until World War 2. The Lupson family were the hoteliers for 20 years after WW2 and in 1973 the McPhersons rebuilt the interior and added air conditioning to the building. The Ball Court Hotel is the only surviving hotel from Sunbury's early settlement.A coloured photograph of the side view along Macedon Street of the Ball Court Hotel showing the public bar in the original building, the Take-away area and the bistro. There are three windows and a door in the original building. The take-away section has a shop front facade and the bistro entrance has two double glass doors. All doorways are covered with a cantilever brown and white canvas awning. A footpath and grassed nature strip is outside the building. 3 blue and white brewery signs are along the side of the building and 2 air conditioning units are on the roof.In Gothic lettering 'BALL COURT HOTEL'hotels, cahill, john, mcpherson, mr and mrs, lupson, fred, ball court hotel, george evans collection

Kodachrome Transparency - 35mm slide - cardboard mount, with one side with red border and words "Kodachrome Transparency" top and bottom. On the other side is "Made in England" and "View from this side". Photo taken by Ben Parle 1/1954. Photo of Ballarat No. 26 inbound along Albert St. Sebastopol, soon after leaving the Sebastopol terminus. Note the long grass on either side of the tramway and the lack of houses in the background. For high resolution scan see btm2818h.tif See Reg. Item 2936 for a Austin Brehaut photo taken 10/2004 at the same location. "Sebastopol line Ballarat" "1/54"tramways, trams, sebastopol, albert st, tram 26

Number 443/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 204/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 244/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 245/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 444/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 446/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

The family in this photograph is believed to be the Oliver family. Thomas Oliver, a farmer, advocated for a school at Parwan near Bacchus Marsh. This image depicts him and members of his family at his property, Woodside in 1883. The Woodside property was formerly owned by John Cook. The Olivers lived at Woodside during the 1870s and 1880s. Thomas Oliver retired around 1888 and moved to 'Elam's Cottage' in Bacchus Marsh. Three months after moving to Bacchus Marsh he died.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. An image depicting a family group in front of a farm house. There are three men, two women and two small children standing or lying on a grassed area in front of the house, which has a post-and-rail fence. The farmhouse is a simple rectangular- shaped brick house with two chimneys and a tiled or slate roof. Behind the house can be seen a second building, also one-storeyed with a tiled or slate hip roof. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, farms, farmers, oliver family parwan vic.

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. H F Deutscher Pty Ltd were the manufacturers of lawn mowers. They were at 711 Creswick Road, Ballarat but now are at 731 Creswick Road Wendouree. They have been making petrol mowers since the 1950s. Their history began when a golf club asked them to build a mower that was able to cut long grass. Since then they have produced many different models of hand and ride-on mowers.A4 booklet - 10 pages. Photographs of sections referred to. Draft copies and original photographszilles printers, deutscher, ballarat, petrol mowers, ride-on mowers, lawn mower

Seed broadcaster were used to distribute seed across a small area or to fill in patches where seeding has been missed. This method does not ensure a uniform distribution of seeds unless the person using the machine walks at a very measured pace. It also requires a lot of time and manual labour if used in larger areas. It was most used for planting cover crops, grains, grasses and similar plants that do not need to be in neat rows. The hand-crank broadcast seed spreader was invented in 1868 by Samuel S. Speicher (aka. Spyker) in Indiana, USA. By 1955 new developments included the invention of a seed broadcaster on wheels and these smaller spreaders started to disappear.This item is representative of agricultural machinery used on a local, national and international level in the late 19th and early 20th century.A metal hand seed broadcaster. A hopper at the top was the receptacle for seed. The wheel with a handle on the side when turned drives the cogs attached to an axle. This action rotates the attached spindle with blades to propel seed out the front of the broadcaster. The broadcaster would have had a shoulder strap and a bag of seed would have been added to the hopper and secured with twine through the holes around the top.agricultural tools, farm machinery

This commemorative badge identifying the wearer as a Girl Guide and was used in the 1970's and later. The Girl Guides "World Camps" was founded in 1924 and each subsequent "camp" was in other global countries. The Camp Baree was held in 1947/1948 in Pennsylvania in the USA. In Victoria, Australia, a Barree Regional location for Girl guides, encompasses the Kiewa Valley and its regions. Girl guides in rural areas covered the same developmental programs as in the city areas but the bush settings of annual camps did not have the same impact as for city based guides. The comradeship however, bringing together girls from a widely diverse background, was still a very important objective of the Girl Guide movementThe significance of this badge is that the Girl Guides held a World Camp in the Barree region which included the Kiewa Valley.This world wide attention(Girl Guides) to this region paid special attention to the "home side" girls and highlighted in particular those girls in the Kiewa Valley who participated in the Girl Guide movement. The ability to have such a personal contact with so many girls from so many world regions helped to break the somewhat isolated regional life. The fundamental lessons of the girl guides was and still is to enrich young girls knowledge of skills which provides self esteem, pride in achievements and the togetherness with like minded girls. Social barriers are left behind and good friendships are formed. Some of these friendships continued as life long links.This round badge made from brass and has coloured enamel sections outlining various "Barree Region" scenery. In the far distant horizon are snow capped mountains. These are coloured brown with white tipped summits.The central focus is a blue stream with a dark blue "gum" tree to the left and a brass etched tent pegged onto green grass. These pictures are framed within a house structure. A red coloured boomerang lies under the "house" frame with the name of the region on it,"BARREE REGION" The badge is fastened onto a lapel or other clothing by two "L" shaped hooks extending from the back of the badge.On the front of the badge (on the sketched boomerang "BARREE REGION". On the back in raised lettering is"BERTRAM BROS MELB."societies, girl guides, barree region, metal identity badges

The photograph shows the location of the concrete, horseshoe shaped gun emplacement erected for the cannons. It is part of the Historic Precinct on Flagstaff Hill. The area was accessed either through the space between the Lighthouses (through the cottage grounds) or a service entrance, past the iron huts used by the Lands Department. This photograph, a print, is one of a set of five that show the site of Flagstaff Hill. It is presumed to have been taken by John Lindsay, Founding Director of Flagstaff Hill Maritime Museum and Village. One of the photographs in the set has the pencil inscription "Photo J Lindsay". It was taken in the early 1970s during the initial stages of the development of Flagstaff Hill as a Museum and Maritime Village. The photographs belonged to the donor's grandparents, who lived in the Warrnambool district of Allansford/Naringal. The photograph is a record of the site and surrounds of Flagstaff Hill Maritime Museum and Village before its development and opening in 1975. It shows the east side of the Surfside Holiday Park in its earlier days. The photograph is significant for recording the location and condition of the original concrete cannon emplacement on the Hill.Coloured photograph, glassy print, one of a set of five. Photograph shows the original site of one of the gun emplacements for the cannons, cannons Historical, looking towards the Moyjil, ,Point Ritchie and overlooking Lady Bay, Warrnambool. The horseshoe shaped concrete gun emplacement is in the foreground on the grassed slopes overlooking the Bay. The site and ablution block of the Surfside Holiday Park is centre right. The left shows the sore of Lady Bay with the cliffs of the Southern Ocean in the distance. The photograph's paper has the printer's watermark on the back. The early 1970s scene is presumed to have been photographed by John Lindsay, Warrnambool.Label on the back: "FIRST GUN EMPLACEMENT LOOKING TOWARDS THE HOPKINS / This is the original site of one of the cannons overlooking the Bay. Access to this area could be between the light-houses (throught the cottage grounds), or a service entrance - past the iron huts used by Lands Department."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, 1970s, photograph, gun emplacement, surfside holiday park, lady bay, hopkins river, flagstaff hill site, john lindsay, concrete gun emplacement, cannon emplacement, original emplacement

Metal sign with embossed lettering, the corners have been folded over with mounting holes put through the thicker sections. The embossing reads: 'This Land is Auriferous and Subject to Mining Conditions.' The sign is very rusted and there is no trace of the original paintwork. A handwritten note with the sign reads: 'This sign was found covered by grass and eucalyptus leaves etc., at the side of the road leading past the Eucy. Factory in the vicinity of the Whipstick forest. Found in 1977 by Jean and Ross Miller, Wireless Street, Kangaroo Flat. At the time of scanning the lead article. The second item, a ladle, is being held in another location.gold mining, miners' safety cage, signage, gold mining, land use, signs