The blue section of the paining represents our amazing ocean, bays, rivers, creeks and wetlands. The white creamy section represents our coastline with the footprints imbedded into the sand tells the story of our old people who have been so connected to this coastline for many thousands of years, the mountain represents the You Yangs which holds a special part of our history here on Wadawurrung country, the 7 gathering circles in the mountain represents the 7 family groups within Wadawurrung, WAA the crow he is our protector here on country and Bundjil is our creator which is why I have implemented these 2 birds into my painting, the u shape people symbols represents my family of 5 generations still living on Wadawurrung country, my great grandmother Joye Eccles my pop norm Eccles my mum Corrina Eccles myself and my beautiful daughter Alira, the eucalyptus leaves up the top is a part of cleansing I have incorporated therese leaves because this country is cleansed everyday by he family when conducting a smoking ceremony.Painting of Eagle and Crow with water and footprints below. Brown, orange, blue, green, black used.bundjil, you yangs, wadawurrung

Mrs Jessie Beardmore, wife of the Shire President, Mr Henry Beardmore, was invited to switch on the electrical current at the power house in Wodonga on 15th January 1912. This was not the official opening of the newly installed system which took place a few weeks later. Disagreement existed amongst Shire Councillors about the official opening, several of them including Mr Beardmore believing the opening should only take place when the scheme was completed. However Dr Schlink, Mr D. M. Stavely, Cr Twomey and Mr C. Holloway, Engineer for the Electric Lighting Company, arranged a small ceremony to turn lights on for the first section of the scheme. This included street lighting along Sydney Street between South Street and the Shire Hall as well as a few business houses and private establishments, with the balcony of the Terminus Hotel illuminated by over 100 lights. Other areas and buildings were connected over the following weeks. Mr Beardmore was not present at the beginning of proceedings but joined the crowd in the street. During a small number of speeches, credit for his work to instigate and further the introduction of electricity to Wodonga was given to Councillor Twomey, referred to as “the father of the scheme”. This item is significant because it records the first connection of electricity to Wodonga in 1912.A hand written letter addressed to Mrs Beardmore of Wodonga. A portrait of Mrs Beardmore is also included. A transcript of the letter is included below. Wodonga 15 -1-12 Mrs Beardmore Wodonga Dear Madam, Mr Holloway, Engineer for the Electric Lighting Company, has invited me to invite you as the wife of the Shire President to switch on the electric supply for the town at the power house not later than 8.30PM (this evening). Hoping that you and Mr Beardmore can make it convenient to attend. I remain yours sincerely, R. H. Schlinkbeardmore family, electricity in wodonga

Tait collection: item 40 of 62 This document gives the details of the Will and Probate of Edward Jones, an engine driver who died in Warrnambool in January 1895 at the age of 69. He had previously been a resident of Port Fairy. He left real estate to the value of £640 and personal estate to the value of £187. The beneficiaries of the will were his daughters, Margaret and Mary Jones. The lawyers connected with this document were Ernest Chambers and the legal firm of Fletcher and Mackay. Ernest Chambers had legal offices in Port Fairy, Koroit and Warrnambool at the end of the 19th century and the beginning of the 20th century and the signatures of two of his law clerks, Thomas Goodall and John White are included in this document. James Fletcher had a legal office in Port Fairy and in Warrnambool in the 1870s and in Warrnambool in the 1880s (Koroit Street). In the late 1890s he commenced a partnership with George Mackay who had previously had his own practice in Warrnambool. In the 1920s the firm became known as Mackay and Taylor and later Mackay Taylor (Kepler Street). This document was in the possession of Ernest Chambers and was passed down to successive lawyers occupying the Kepler Street premises. It was located in 2014 with other documents in these premises last occupied by the firm of Mackay Taylor. This document is of some interest as it gives details of the Will and Probate of Edward Jones who had been a resident of Warrnambool in the late 19th century. It will be useful for researchers. This is a cream-coloured piece of parchment paper folded in two and containing handwritten material on three sides of the paper. It gives details of the Will and Probate of Edward Jones of Warrnambool who died in 1895. The pages have printed red lines on the edges of three pages. The written material is clean and readable.In the Supreme Court of the Colony of Victoria In its Probate Jurisdiction in the Will of Edward Jones late of Warrnambool and formerly of Belfast in the County of Villiers in the Colony of Victoria Engine driver deceasedfletcher and mackay, lawyers,, warrnambool, ernest chambers,, edward jones, tait collection

Oral history Myrtle Barnett ( 1915- ); fostered daughter of Caroline & Ferdinand Barnett; Lower Plenty. Interviewed on 19 Feb 1996 by Peter Blackbourn. "We lived at Grace Park and could walk straight down the road and over the bridge to the Montmorency State School. The school was in Rattray Rd about half way up the hill. The King family lived next door to the school. One day the students were all taken on a walk to choose the site of the new school (which was built in 1924). In addition to the above story; Myrtle said at either the Lower Plenty School or the Montmorency School there was a teacher they didn’t like so they swapped schools. My Grandmother Jean Barnett; started at Greensborough Primary in 1919 and stayed 3 months. When I told her about this; she told me off and said she never went there! She must have then gone to Montmorency and when there was a call to start a school at Lower Plenty; took the opportunity to get away from the teacher they didn’t like. I’m not sure of the time line for the above events; or which school they swapped to but I thought it gave a little insight into the 1920’s and how Lower Plenty; Montmorency and Greensborough were connected."Transcript of Oral History. barnett family, myrtle barnett

A dead eye is a part of a vessel’s rig On board sailing ships, dead eyes were used in three different areas. Traditionally dead eyes are made of wood but they have different forms according to where they were used in the vessel rigging. The most common type of dead-eye is flat, with three holes and was used to tension the shrouds, the heavy lines which steadied the masts on each side. Each shroud had a dead eye at the lower end, which corresponded to a similar dead eye attached to the side of the ship. The two were connected with a rope called a lanyard, which was used to tighten the assembly. The stays, heavy lines running forward from the masts, were also tensioned with dead eyes. These are much larger and rectangular, with four or six holes. The third type of dead-eye was a two-holed version attached to an eye at the end of the parallel, which tied a yard to the mast. The loose ends of the parallel rope passed through the dead eye and then down to the deck, making it possible to tighten or slacken the parallel from the deck so that the yard could be more easily manoeuvred. It was especially important for the mizzen yard, which had to be shifted from one side of the mast to the other when tacking the ship.An item used on sailing ships rigging this item of ships equipment and its use has been used from the beginning of the invention of sailing ships going back to ancient times. Its use on sailing vessels had not changed in design or use until they went out of fashion and steamships took their place.Circular wooden ships rigging dead eye with three holes Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel rigging, dead eye, sailing equipment

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. The broad arrow symbol indicates that it was once the property of the British or Australian defence force. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria. The lifebuoy was once the property of the British or Australian defence force.Lifebuoy, round cork object with canvas wrapped around it and rope attached to one side. Broad arrow mark and other red marks indecipherable. Painted white.Symbol of broad arrow. indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment, government lifebuoy, broad arrow

The Logic Analyser was purchased by the Ballarat College of Advanced Education Physics Department in the early 1980s. At the time it was a state of the art piece of test equipment used for fault finding and programming diagnostics for 8 bit computers. It was later used by the Electrical Engineers, after Physics merged with Engineering in the mid 1990s. The device monitored the 16 bit Address buss and 8 bit Data buss of an 8 bit computer. This device continually samples the 24 bits simultaneously and looks for a preset pattern. When the pattern is matched the logic analyser continues for a set number of steps thus allowing an operator to examine the data and address information both leading up to and after an event. This was particularly useful for diagnosing unusual programming and hardware errors. Logic analyzers are used in debugging and troubleshooting in mini- and microcomputers. The HP analyzers collect information through 24 (1615A) or 32 (1610B) inputs leads, connected to the computer's address, data and/or control lines. The logic state flow is shown on a display in a number of traces, a single data line or an appropriate combination of data lines providing a trigger signal. Captured data can be stored for detailed analysis. (http://http://www.science.uva.nl/museum/hp1610.php)Grey Analog computer. Includes keys and small screen.computer, logic analyzer, physics

A dead eye is a part of a vessel’s rig On board sailing ships, dead eyes were used in three different areas. Traditionally dead eyes are made of wood but they have different forms according to where they were used in the vessel rigging. The most common type of dead-eye is flat, with three holes and was used to tension the shrouds, the heavy lines which steadied the masts on each side. Each shroud had a dead eye at the lower end, which corresponded to a similar dead eye attached to the side of the ship. The two were connected with a rope called a lanyard, which was used to tighten the assembly. The stays, heavy lines running forward from the masts, were also tensioned with dead eyes. These are much larger and rectangular, with four or six holes. The third type of dead-eye was a two-holed version attached to an eye at the end of the parallel, which tied a yard to the mast. The loose ends of the parallel rope passed through the dead eye and then down to the deck, making it possible to tighten or slacken the parallel from the deck so that the yard could be more easily manoeuvred. It was especially important for the mizzen yard, which had to be shifted from one side of the mast to the other when tacking the ship.An item used on sailing ships rigging this item of ships equipment and its use has been used from the beginning of the invention of sailing ships going back to ancient times. Its use on sailing vessels had not changed in design or use until they went out of fashion and steamships took their place.Circular wooden ships rigging dead eye with three holes Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel rigging, dead eye, sailing equipment

Axle box cover from a Tasmanian Main Line Railway rail vehicle from 1874 The Tasmanian Main Line Railway Company (T.M.R.L.) was a privately owned railway company that existed in Tasmania from 1872 to 1890. The company were the first operators of rail services between Hobart and Launceston, where it connected with the Launceston and Western Railway (L.W.R.) It started construction of a 3' 6" gauge line between Hobart and Launceston in 1873 which was completed in December 1875. and was officially opened on 1 November 1876. The route of the railway was selected largely as a result of vocal local interests and accordingly traversed some reasonably unfavorable topography, particularly in the southern section. Because the TMLR had limited finances, the line was built to the narrow (1067 mm) gauge and included long sections of steep gradients and sharp curves. The final eighteen kilometres of the route from Western Junction to Launceston used the existing broad gauge alignment of the Launceston and Western Railway, with a third rail being laid for use by the narrow gauge trains A close but uncomfortable relationship with the Government was resolved in 1890 with the purchase of the company's assets by the Crown and their incorporation into the Tasmanian Government Railways on 1 October 1890. Historic early Tasmanian Main Line Railway - Vehicle Axel Box cover Axle box cover from a Tasmanian Main Line rail vehicle from 1874.T.M.L.R - 1874 -axle, tasmanian main line railway, axle box, tasmania, main line,

From the Imperial War Museums website (IWM UK): Second World War period transceiver set widely used by US, and Allied, Armed Forces in Italy, N W Europe, and the Pacific. The US Signal Corps developed the SCR-536 early in the Second World War, It was produced from 1942 onwards by the Galvin Manufacturing Co. By 1945 130,000 had been produced. The SCR-536 was an extremely popular set and was colloquially known as a "Handie-Talkie". It consisted of a five-valve, low-power, battery operated, AM (HF) transceiver that was designed for portability and ease of operation. It featured a single channel crystal control between 3.5 and 6Mc/s, and it had an R/T communication range of 1 mile over land and 3 miles over salt water. The set was switched into a receiving mode by extending the telescopic aerial, and to transmit the press-to-talk switch was depressed. The aerial was protected by a connected cover. The set was well-engineered and designed and could be held in one hand, hence "Handie-Talkie" . It was used virtually everywhere in the world, weighed only 2kg, and was proofed against fungi and moisture.The SCR-536 was also modified for use in military gliders under the designation SCR-585.Short range portable transceiver. A large green-painted metal box with perforated small round holes in the shape of hexagons (original perforated round black earpiece and mouthpiece missing). On the back is a long green webbing carrying strap. (not original)Between the earpiece and mouthpiece is a plaque that reads "SIGNAL CORPS US ARMY RADIO RECEIVER AND TRANSMITTER BC-611-C. SERIAL NUMBER: 3017. ORDER NUMBER: 1345-WF-43. MADE BY GALVIN MFG CORPORATION CHICAGO ILLINOIS. On label : FREQUENCY 3996 Kev/ CHANNEL/ BAT. DATE Red square stamp walkie talkie, handie talkie, telecommunication, ww2, world war 2, american, wireless equipment, signal corps, us army, transceiver, bc 611 c

The Millbank Estate was a parcel of land close to the centre of the shopping area of Bacchus Marsh which was sub-divided and offered for sale in 62? lots on the 4th October 1888. The lots had frontages to Ballarat Road (Main Street), Maddingley Road (now Grant Street), Turner Street, Millbank Street, Clarinda Road (now Clarinda Street), and an unnamed street south of Turner Street (possibly known as Grant Street at this time) which connected to Maddingley Road through the vicinity of the present day Bacchus Marsh Hospital. This was a significant sub-division of land and represented a major expansion of residential housing in Bacchus Marsh in the late 19th century. The map includes a wealth of detail about the time of the sale, where it will take place, who the selling agents were, the deposit terms for purchases and details of a special train from Melbourne to Bacchus Marsh on sale day. The location of the allotments in relation to the shopping and commercial area of Bacchus Marsh, Maddingley and the railway station are indicated on an inset map within the overall map and poster. The Millbank Estate area was an area which had once belonged to the Grant family who were prominent early citizens of Bacchus Marsh and lived in a house in this area known as 'Millbank'.This land sale map is a typical example of housing estate land sales advertising maps produced by real estate agents in this era. The map is significant for the detailed information it provides about when and where land was sold for new housing estates in Bacchus Marsh in the late nineteenth century.Single page map showing land allotments for sale at auction in Bacchus Marsh in October 1888. A significant portion of the map is missing from the bottom right side. land sales bacchus marsh, land subdivsion bacchus marsh, housing estates land sales bacchus marsh, grant family bacchus marsh, millbank estate land sales

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This Alfred Deakin 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate important figures in Australian politics. The original reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series includes Edmund Barton, Alfred Deakin and Chris Watson.Glazed ceramic flask in the shape Alfred Deakin. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; Alfred Deakin / Prime Minister / of Australia / 1903 - 1904 / 1905 - 1908 / 1909 - 1910 Bendigo Pottery / LMTED / Edition Series / 101/200 /Australia Signed lower left; 'Frith'australian politics, bendigo pottery

This ledger was used by the Shire of Orbost from 1906 to 1910. The item was donated to Orbost & District Historical society from P.R.O.V. as a Place of Deposit (POD) item for safe keeping by a local history group or museum. The shire covered an area of 9,347 square kilometres and existed from 1892 until 1994 when it became part of the East Gippsland Shire Council. Orbost was at first included in the Bairnsdale Shire from 1882 and was later part of the Tambo Shire. Because of travelling distances the Croajingalong Shire was created in 1892 (name changed to Orbost Shire 17.2.1893 with James Cameron as the first Shire President. In 1994 it amalgamated to become part of East Gippsland Shire Council. In Australian suburbs and rural towns where the sewer wasn't connected, people usually had an outside toilet. The toilet seat was made of a plank of wood secured at its ends to the walls of the building with a large round hole in the middle. Underneath was the removable sanitary pan and on a regular basis, usually weekly, the full pan was taken away and replaced with an empty one. This was the job of the sanitary carter. the sanitary depot was in Martins Lane, Orbost Development of the Orbost Wastewater Treatment Facility began in the 1960’s with the construction of four treatment lagoons. Shortly after the construction of the lagoons the sewerage system was installed throughout Orbost.This item is a record of accounting for the local government. The collection of sanitary pans was a necessary service before the Orbost township was had its own wastewater treatment facility.A large register of pan fees for the Shire of Orbost. A black hard cover book with red binding and marbled end pages. Entries are hand-written in black ink.On spine - "PAN FEES REGISTER: in gold lettering. In centre of front cover in gold - "SHIRE OF ORBOST (underlined) PAN FEES REGISTER"orbost-shire-council ledger-pan-fees sewage orbost-township-sanitary-service

GEORGE ROSE 1861-1942: - George Rose was a well-known Victorian photographer, famous for his late 19th and early 20th century photography. He was born in Clunes, Victoria, and was in his 20th year when he founded Rose Stereograph Company in 1880. He took the opportunity of a popular trend of the times to produce stereographs, pairs of almost duplicate photographs that appeared in 3D when viewed in a handheld stereo viewer. By the 1920s, these lost their popularity, so he used his photographic skills to produce cards and postcards of scenes and people. The twelve photographs in the Rose postcard folders include locations connected to other items in our Collection, including the Valentine postcard folder in this set. The photographs are titled: - . The Avenue and War Memorial. Warrnambool. Vic. . The Blow-hole. Thunder Point. Warrnambool. Vic. . Botanical Gardens. Warrnambool. Vic. . Eagle Rock. Warrnambool. Vic. . The New Concrete Bridge and Breakwater. Warrnambool. Vic. . Liebig Street. Warrnambool. Vic. . Looking to Thunder Point. Warrnambool. Vic. . The Beach. Warrnambool. Vic. . Hopkins Falls. Warrnambool. Vic. . Shelly Beach. Warrnambool. Vic. . The Mouth of the Hopkins River. Warrnambool. Vic. . Panorama of Warrnambool, Vic. [Kepler Street towards Presbyterian Church on Spence St] This postcard folder shows scenes and places of interest in and around Warrnambool. The George Rose postcard folders in this set were produced in Victoria and include pictures taken by the renowned photographer between 1880 and 1942. Other postcards in our collection have photographs of the same or similar locations at different periods in time. Each postcard records a moment in history and is significant as a way to compare and show the changes in the local environment and community, building a story of the local history. The images record changes in the coastline, land, bay, buildings and other structures, roads, transportation and even the fashions of the times. This copy folder is one of a set of three. This folder has a green-grey textured rectangular card cover with a sketch of a rose on the front. The cover also contains the name of the postcard series, the location of the series' focus, the producer's details, and lines for adding an address. The folded cover contains a long, concertinaed page with six titled photographs on each side, totalling twelve. The folder contains scenes from Warrnambool and nearby popular areas, including Lady Bay, the Port of Warrnambool, the Warrnambool Breakwater, the Viaduct, the Merri River Footbridge, the Hopkins River Mouth, and Proudfoot’s and the Fanny Nelson/Flett boathouses. The cover has a sketch of a rose and inscriptions. The lithograph photographs were taken between 1880 and 1942 by well-known Victorian photographer George Rose, Rose Stereograph Company of Armadale, Victoria.Image: [Rose with rosebud and leaves] Printed: "Rose Series / Picturesque Views of / WARRNAMBOOL / AUSTRALIA" "PUBLISHED BY / ROSE STEREOGRAPH CO / ARMADALE. VIC."flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards, green-grey postcard folder, shipwrecked coast, maritime museum, souvenir, warrnambool local scenes, photography, local history, tourism, photographs, visitors, travel, scenes, mid-20th century, 1940s, 1950s, concertina fold, z-fold, 1880s, collection, correspondence, rose stereograph co armadale, victorian photographer, soldiers’ memorial, hopkins river, the cliffs at shelly beach, the road to sandy beach, pier, botanic gardens, post office, municipal buildings, merri river, proudfoot’s

GEORGE ROSE 1861-1942: - George Rose was a well-known Victorian photographer, famous for his late 19th and early 20th century photography. He was born in Clunes, Victoria, and was in his 20th year when he founded Rose Stereograph Company in 1880. He took the opportunity of a popular trend of the times to produce stereographs, pairs of almost duplicate photographs that appeared in 3D when viewed in a handheld stereo viewer. By the 1920s, these lost their popularity, so he used his photographic skills to produce cards and postcards of scenes and people. The twelve photographs in the Rose postcard folders include locations connected to other items in our Collection, including the Valentine postcard folder in this set. The photographs are titled: - . The Avenue and War Memorial. Warrnambool. Vic. . The Blow-hole. Thunder Point. Warrnambool. Vic. . Botanical Gardens. Warrnambool. Vic. . Eagle Rock. Warrnambool. Vic. . The New Concrete Bridge and Breakwater. Warrnambool. Vic. . Liebig Street. Warrnambool. Vic. . Looking to Thunder Point. Warrnambool. Vic. . The Beach. Warrnambool. Vic. . Hopkins Falls. Warrnambool. Vic. . Shelly Beach. Warrnambool. Vic. . The Mouth of the Hopkins River. Warrnambool. Vic. . Panorama of Warrnambool, Vic. [Kepler Street towards Presbyterian Church on Spence St] The photographs in this postcard folder were taken between 1880 and 1942 by the renowned Victorian photographer George Rose. The locations match photographs and postcards in our collection that were taken at different times. A comparison between them shows the changes over time in the land and bay, the buildings and other structures, transportation and even the fashions of the times, building the story of our local history.Postcard folder, Rose Series, blue cover. One of a set of three containing images of Warrnambool and district before 1942. Green folder, textured cardboard folder containing a Z-folded strip of white matte photographic paper with six black and white photographs on each side. Titles are printed below the images. The folder is secured by placing two tabs into two slots on the back cover to hold the cover in place and create an envelope shape. Three horizontal lines are printed on the front for the receiver’s address. There is a logo of a long-stemmed rose on the left side and inscriptions on the front cover. The lithograph photographs were taken between 1880 and 1942 by well-known Victorian photographer George Rose and published by Rose Stereograph Company of Armadale, Victoria. The folder contains scenes of popular areas at Warrnambool and nearby locations including Lady Bay, the Port of Warrnambool, the Warrnambool Breakwater, the Viaduct, the Merri River Footbridge, the Hopkins River Mouth, and Proudfoot’s and the Fanny Nelson/Flett boathouses. Image: [Rose with rosebud and leaves] Printed: "Rose Series / Picturesque Views of / WARRNAMBOOL / AUSTRALIA" "PUBLISHED BY / ROSE STEREOGRAPH CO / ARMADALE. VIC." flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, picturesque views of warramble, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards

This testing voltmeter recorder was last certified by SEC Vic laboratories on the 17/4/77. It was used extensively as mobile recorder placed for periods of one month at locations experiencing unacceptable fluctuations of power. These locations would cover the North East regions of Victoria. They cover voltage drops at domestic and business properties especially those that were experiencing regular fluctuations(daily) at approximately the same time of the day. As the electrical network is required to operate within a set level of voltage, fluctuations outside of this has to be investigated and necessary remedial action taken. This is especially so for rural properties where power "drainage" can occur through animal/bird and tree interference. It can also be the result of defective wiring and overloading at peek operational times (milking machines).This mobile voltage recorder is very significant to the Kiewa Valley because it highlights the difficulties that can occur in maintaining a power supply that experiences fluctuating power demands by the rural industries that it supplies. The requirement of a mobile testing apparatus to cover the various sections in the Kiewa Valley and other rural areas in the northeast region is one of necessity as electricity once connected to a rural property is a labour saving supply as generators on rural properties require a higher degree of maintenance an ultimately at a higher cost. The testing of the SEC Vic supplied electricity to rural properties,those who had previously run on generators, had to be quick and unassuming with certainty of correct supply levels.The mechanism of this voltage recorder has been installed(by the manufacturer) into its own protective wooden box. This box has a front (swing open) lockable section which permits direct access to the installed measuring equipment (for servicing and data collection). The top section of the box has two screw on terminals for access to the machine being tested. This tester has its own inbuilt ink supply facilities and a mechanical clockwork device that unwinds a roll of paper onto a second roll at a rate of 10 mm per hour. The recording chart is marked with time slots against voltage. There is a recording arm which has an ink pen at the end. Both arm and pen carry the ink supply from the ink reservoir, located on the left side of the cabinet door in specially constructed bottle holder( three small bottle capacity). To record a suspect power problem to a home or business establishment the voltmeter is connected to a power supply outlet being tested and wind the recording clockwork mechanism (gives a four week running time). Before leaving the recorder in situ the electrician checks to see if the chart is recording the correct voltage and that the clock mechanism is advancing correctly.On the front of the access "door" at the top a metal label "RECORDING AMMETER" below this "MURDAY SYSTEM" below this "ALTERNATING CURRENT" and below this the manufacturer's registered number "No. 139156" Below this is a metal tag with State Electricity Commission of Victoria Electrical Engineer's Section equipment number "338" Below these tags and above the viewing window is the manufacturer's dtails "EVERSHED & VIGNOLES Led LONDON"sec vic kiewa hydro scheme, alternate energy supplies, alpine feasibility studies temperature, rainfall, power outages

The Bendigo mayoral chain or chain of office was donated by George Lansell in 1893 and manufactured from local gold by F Prescott. The design of modern mayoral chains (also known as a livery collar) mimics the ancient gold collar of Esses worn by the Lord Mayor of London which was bequeathed to his successors by Sir John Aleyn (who died in 1545) and which has a large jewelled pendant added in 1607. Source: Wikipedia https://en.wikipedia.org/wiki/Livery_collarDesigned and manufactured by Mr. E. Prescott from 9ct Yellow Gold in 1893 and believed to be made from Bendigo gold, the Bendigo mayoral chain was conceived by Mr J.H. Abbott and created with financial assistance of Mr George Lansell the "Gold King" of Bendigo who contributed the central medallion. The 18 links which made up the original chain represented serving mayors to date and were gifted by ex mayors or their representatives. The main chain consists of 35 links of quatrefoil form with the name of each mayor and the years of their term engraved and filled with black enamel. Overtime, as the chain grew too long to wear, it was separated into two joining chains eventually consisting of another 34 link section, totaling 69 links. The monogram of each mayor in gold is placed in the centre of each link and the links are connected by filigree 9ct gold joining curbs, unique to this period. The engraved central 'drop' or medallion is an eight pointed form with the body being an irregular oval containing four projections and four recesses forming the eight points. The shield section depicts the Australian emblem in miniature above and larger central Bendigo Coat of Arms filled with coloured enamel. The reverse of the medallion bears Lansell's name and is inscribed with the following: / Bendigo gold field discovered in 1851/ proclaimed municipality of Sandhurst /1855 / and city 1871/ Named changed to City of Bendigo 1891, in honor of which event / Cr J. H. Abbott, M.L.C. / inaugurated the mayoral chain / and medallion was presented to the city council / by George Lansell, Esq / to whose implicit belief in the inexhaustible / nature of our gold resources and the idefatigable energy / in developing them Bendigo mainly owns its / present prosperity / June 1893 / W. Honeybone, Town Clerk /sandhurst, bendigo, mayor, mayoral chain, george lansell, prescott, abbott, blashki, council, 1893, city of greater bendigo ceremonial item

Alfred 'Alf' Spencer grew up on a dairy farm run by his mother, west south west of Beechworth 'down Robertson Road', and was very well connected to the wider Beechworth area. In this oral history, he recalls his time driving the milk cart around Beechworth as well as the time he spent buying lollies and seeing the pictures. He talks extensively about working as a butcher at his brother's store, including how the butchers interacted with the rest of the town and the staff, as well as his time constructing roads and the pipe network of Beechworth. He discusses the dynamics of other workplaces around Beechworth, describing issues with how the local tannery treated its workers as well as how post-war migrants integrated across the town. He briefly discusses racial tensions between Chinese migrants and other miners on the goldfields. He also discusses the experience of health care in a rural area during his childhood. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Alfred Spencer's oral history of his life around Beechworth during the 20th century is historically and socially significant to the cultural history of the region and Victoria. There is a lot of detail about workplaces, their staff, and how the resources of the town interacted. He explores themes that are important to Victorian history, such as migration. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up to 40 minutes of recordings on each side.Mr Alfred Spencer /listen to what they say, beechworth, oral history, burke museum, spencer, alfred spencer, migration, post-war migration, goldfields, health care, farm, farming, dairy farm, black springs, butchers, meat processing, butcher, road, road network, labour relations

This photograph dating between the 1850s and early 1900s depicts an open cut sluicing site located in Allan's Flat looking upon the open cut from Staghorn Flat Number 1. Sluicing was undertaken in the area from 1850 to 1904. The image depicts a location mined by Yackandandah Sluicing Co. It portrays and open space with pipes laying on the ground and connected to pipes leaving the barge. These pipes were used to wash and seperate the qaurtz. There are two small buildings on high ground over looking the barge. Yackandandah Sluicing Co. was created by J.A. Wallace in the 1880s. The Yackandandah Sluicing Co. operated from the mid-1880s to the early 1900s, when resources eventually ran out. Open cut sluicing involved the use of high-powered hoses which used the centrifugal sand pump system (known as hydraulic sluicing) which broke down the soil which was then processed for quartz, gold and other materials. After the resources where drained, Wallace reaped the benefits of his mining business. Allan's Flat is located on the Yackandandah Creek, and is 10km north-east of Yackandandah and 20km south of Wodonga in Victoria's regional north-east. Allan's Flat was initially used to mine gold through alluvial methods, however that came to an end with little results. The mining business was then revived by J.A. Wallace with the introduction of hydraulic sluicing.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold and other minerals in the lat 19th Century. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. This image is important for current research into the history of Allan's Flat, a small regional location near Yackandandah in Victoria's North East. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to gold sluicing and Allan's Flat which can be analysed and studied alongside images like this one.Sepia coloured retangular photograph printed on gloss photographic paper mounted on board.Revers: Sluicing at Allan's Fortallan's flat, north east gold, sluicing, gold sluicing, hydraulic sluicing, mining, gold and quartz mine, beechworth, burke museum, yackandandah

This Favag Timer apparatus was a part of the first electronic control system -(1960's), in Victoria), which worked using telephone stepping selectors to convey a change in voltage providing a regulated pulse from the control centre(Mount Beauty) to the remote Power Stations opening and closing (stop/start) of various devices at the Power Station and a return signal confirmed the action taken. Testing of this unit was carried out using a "dummy" device at the remote Power Station so as not to disrupt the power plant's operation. This timer was one of many electrical apparatus connected to the large SEC Victoria Hydro Scheme's electrical power producing generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro Schemes was achieved from the early 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce,inclusion of skilled and unskilled, migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This Favag Timer was one of the crucial pieces of equipment that made it possible for the Mount Beauty Terminal Station to control the operations of these Power Stations; McKay, Clover, West Kiewa Power Stations and the Dederang Terminal Station.This aluminium and anodised "FAVAG" (pulse) timer is fastened to a base structure which comes with its own metal cover that is fastened by two metal hooks. From the top of these hooks runs a thick leather "carry" strap.The instrument, itself, a small "micro motor" at one end tape feeding spool on the other. Aluminium metal structures offer a preventative barrier against any electronic spikes from static electricity sources. There are two toggle switches to the bottom right hand side and twelve coloured "pin" connection points.There is a sliding access sleeve which exposes a circuit board.with various leads fastened on each side. In front of one of this slide are two "screw in" fuses, spare fuses are in a small envelope taped above. Circuit diagrams are etched white on black background on the top face of the main structure. At the base of the back section is a two pronged input terminal. There is a fine black rubber layer (cushioning) for the mian top cover.On the cover fastened with two rivets "FAVAG" underneath in small print "Fabrique d'appareils electriques S.A." underneathe "NEUCHATEL-SUISSE". on one end is a "STATE ELECTRICITY COMMISSION OF VICTORIA" metal label screwed on.The back label has manufacturers' type and model number.sec vic kiewa hydro scheme, alternate energy supplies, alpine population growth

The Hoffman company was established in 1870 to mass-produce bricks using the Hoffman patent kiln and the Bradley and Craven brick press. Once established the company entered a period of expansion aided by Melbourne's building boom from 1870 to 1890. During this time approximately ten brick machines were in operation producing some 18,000 bricks per hour. An extensive pottery works were established initially supplying mainly tiles and drainpipes and later domestic pottery such as the company's Melrose ware. The company even had its locomotive shunt the works siding which connected with the Victorian Railways at South Brunswick. By 1890 Hoffman was the largest brick and pottery works in Victoria, however, the 1890s depression halted company expansion. The company joined the Brick Co-operative when it was formed in 1896. The cooperative regulated prices and output from member brickworks. As the depression ended business picked up and the works were expanded to increase the production of stoneware pottery, especially domestic wares. The brickworks, however, never recovered the momentum of the early period. During the 1920s and 1930s, the works gradually ran down, and following the Second World War, production reached an all-time low. The No.1 works were stripped and sold. (For further information regards Hoffman Kilns see note section of this document.) An item made in Melbourne by at the time the largest pottery works in Australia making industrial and domestic wares for the home and building industries. Stoneware Demijohn jug with cream and brown glaze. Printed around base of jug, MELBOURNE, 1929"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, melbourne, 1929, stoneware jug, hoffman potteries

Electric staff - Electric staff instruments The staff and ticket system was still too inflexible for busy lines, as it did not allow for the situation where the train intended to carry the actual token was cancelled or running very late. To provide for this, the electric train token system was developed. Each single-line section is provided with a pair of token instruments, one at the signal box at each end. A supply of identical tokens is stored in the instruments, which are connected by telegraph lines. A Staff can be removed from one instrument only if both signalmen co-operate in agreeing to the release. Once a Staff has been removed, another cannot be removed until the token which is "out" is replaced in either instrument. (There are variations on this sequence of events.) By this means, it can be ensured that at any one time, only one token is available to be issued to a driver. Staff belonging to adjacent sections have different configurations to prevent them being inserted into the wrong instrument. Nevertheless, in the Abermule train collision in 1921 and lax working procedures allowed the safeguards provided by the electric Staff system to be circumvented; a driver was handed a Staff for the wrong section, and without reading the information listed on the staff, proceeded on the mistaken belief that the Staff was correct. To prevent this, it became a requirement in the UK for the signals controlling entry to the single line section (starting or section signals) to be locked at danger unless a token has been released from the relevant Staff instrument. Historic - Victorian Railways Electric Staff Instrument Electric Staff Instrument made of Iron , Brass and Glasspuffing billy, electric staff instrument, victorian railways

After years of precursory surveying, debate and proposals the most ambitious civil engineering project of the day, the Overland Telegraph Line, began construction in September 1870. Superintendent of Telegraphs, Sir Charles Todd led the construction through “terra incognita,” guided by the precursory surveys of John McDowall Stuart and technologies such as his prismatic surveying compass. The unknown and hostile landscape claimed the lives of several men and scores of transport animals in the dogged pursuit of telegraphic connection to the rest of the world. Completed in August 1872, the Line connected Australia to the world via telegraph wires running 3,200 kilometres from Port Augusta in South Australia, to Darwin, then connecting via submarine cable to Java and beyond. The “earth [had been] girdled with a magic chain” according to the then Governor of New South Wales, Sir Hercules Robinson. How does it work? For use in surveying, the sight vane and prism are turned up on their hinge and the instrument is held horizontally either in the palm of one's hand or on a tripod. Two small discs of red and green glass attached to the prism can be flipped down over the sight line to reduce glare. The objective is to bring the subject into the sightline created by the prism, aligning with the thread of the sight-vane until the subject is bisected evenly. Once aligned, the division on the card may be read through the prism. This reading provides the magnetic azimuth, used for calculating the bearings of distant landmarks. Circular instrument mounted in a brass case with glass window and brass lid. The compass card face four black compass points printed on mint green paper; on the underside the magnetic needle would be affixed, all held in place by a brass knob at the centre. The arched labels of "Sawtell" and "Adelaide" and the Prince of Wales feathers appear to have been affixed with adhesive which has since yellowed in the areas of application on the compass card. The compass face is printed with numbers, every 10 degrees from 10 - 360, printed in reverse indicating this compass would have once held a mirror at the sighting bracket. On one side of the brass case is a brass hinged sighting-prism, possibly of ebonite. The sighting-prism is mounted in a hinged brass bracket on one edge of the brass case. It has two flip-type filter glasses (red and green) and folds down into a retracted travelling position. A hinged brass bracket on the opposite edge would have held the sighting bracket - carrying the sighting vane and mirror - which is now missing or removed. Under the hinge is a lever, possibly related to the movement of the bracket. Underneath the brass case is an indented circle with screw threads, possibly for attachment to a tripod, and indistinguishable marks scratched into the surface.Etched on to the centre of the lid, "Sawtell ADELAIDE / No 792." Affixed to the paper compass face, possibly from separate pieces of paper, "SAWTELL / ADELAIDE" with the Prince of Wales Feathers above "SAWTELL". Underneath on remains of white tape in red: "159."surveying, compass, charles todd, overland telegraph line, telegraph

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This Sir Edmund Barton 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate his contribution to Australian politics. Edmund Barton became Australia’s first Prime Minister on New Year’s Day 1901, at a huge public ceremony in Centennial Park in Sydney. Reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series includes Edmund Barton, Alfred Deakin and Chris Watson. Glazed ceramic flask in the shape of Sir Edmund Barton. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; Sir Edmund / Barton / Prime Minister / of Australia / 1901 to 1908 Bendigo Pottery / LMTED / Edition Series / 110/1200 /Australia Signed lower centre; 'Frith'australian politics, bendigo pottery

Newspaper clipping Bendigo Advertiser Saturday August 2 2014.Articles of friends who enlisted for WWI together. Private George Every, son of W. H. Every enlisted in July 1915, and sailed for Egypt in January 1916, and his imminent return home wounded. Private S. H. R. Elliott No. 782, K.I.A. April 25 1915, aged 28 years. Son of the late Mr. & Mrs George Elliott of Peg leg Road Eaglehawk, enlisted in August 1914 and embarked from Melbourne. N. S. Draper enlisted at the same time. Sydney Elliott was a member of the Eaglehawk Fire Brigade, Rifle club and was chosen to do sniping duty. G. Of the Loyal Catherine lodge, M.U., Odd fellows band , Comrade's class connected with the Eaglehawk West Methodist Sunday School, Church Choir ,Lawn party , and the swastika club, esteem of the Eaglehawk mechanics institute, Foundry man at the Austral Drill foundry at Eaglehawk. He had one sister, Mrs W. Graham, of Peg leg Road and five brothers - Messrs George & Abe, Bootmakers of Eaglehawk, Fred of Vine Street Bendigo, William of Farnsworth Street Eaglehawk,Stanley of Eaglehawk, and well know in musical circles and as choirmaster at St. Pauls Church Bendigo.military, world war 1, bendigo soldiers

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

Small eight page document Bendigo United Friendly Societies' Medical Institute and Dispensary, established 1872. Printed by J. Brockley, Printer, Williamson Street. MDCCCLXXX. Inside the front cover are the names of the President - S. H. McGowan, Treasurer - Edward Holton, Secretary - Jas. Watson and the Names of Societies connected therewith, and their Representatives:-;Bendigo Lodge M.U.,I.O.O.F. - James Haynes, S. Johns, Ed. Bastard. Bendigo Lodge, O.S.A.,S.C. - Wm. Taylor. Bendigo Deutscher Verein - H. C. Weibgen. Court Alexandra, A.O.F. - Ed. Holton. Court Bendigo, A.O.F. - J. Anderson, R. Johnston, Thos. Pattinson. Court Pride of the Forest, A.O.F. - E. Darby, N. Longstaff. Court Queen o fthe Forest, A.O.F. - j. Waller, G. Schultz. Gold Miners' Pride Lodge, M.U.,I.O.O.F. - N. Johns, W. P. Conolly. Heart of Friendship Lodge, M.U., I.O.O.F. - S. H. McGowan, C. Houston, Jas. Watson. St. Kilian's Branch, H.A.C.B.S. - John Bartley, J. J. Howard. Sandhurst Lodge, G.U.O.O.F. - W. H. Bienvenue. Quartzopolis Lodge, U.A.O.D. - S. Herman. Document mentions the working of the Societies', fees, where they had saved money, Medical Officer and also mentions Rules and Regulations.J. Brockley, Printer, Williamson Streetsocieties, aof, correspondence, ancient order of foresters no 3770 collection - document, bendigo lodge m.u., i.o.o.f. bendigo lodge, o.s.a., s.c. bendigo deutscher verein, court alexandra, a.o.f., court bendigo, a.o.f. court pride of the forest, a.o.f., court queen o fthe forest, a.o.f., gold miners' pride lodge, m.u., i.o.o.f., heart of friendship lodge, m.u., i.o.o.f., st. kilian's branch, h.a.c.b.s., sandhurst lodge, g.u.o.o.f. quartzopolis lodge, u.a.o.d., s h mcgowan, edward holton, jas watson, james haynes, s johns, ed bastard, wm taylor, h c weibgen, j anderson, r johnston, thos pattinson, e darby, n longstaff, j waller, g schultz, n johns, w p conolly, c houston, jas watson, john bartley, j j howard, w h bienvenue, s herman, a colquhoun, w h frost, friendly societies' medical institute and dispensaries, colonial friendly societies, the bendigo united friendly societies' dispensary, alfred hospital melbourne

This menorah has 7 candle holders joined in a horizontal row, on thin rod stands. The circular holders sit on two flat silver strips that are attached to silver rectangles on either side of the holders, creating a shield-like form on either side of the holder. The stand on which this construction is propped up, is made up of rods that stand vertically on either side of the holders and behind the shields. The rods are intersected by other rod 'lines' that visually weave horizontally across the top half of the stand. Each point of intersection of lines and rod stands is marked by a circular shape. Artist's statement: In terms of the Jewish diaspora, the variety and flexibility of approaches within Judaism has enabled the culture to endure and nurture ever stronger connections despite physical distance. This notion of an enriched connectedness was one of the two central ideas which contributed to the development of this piece. The second was the idea of light and its cultural significance. Light is about both practical illumination and spiritual expression. While revealing and manipulating material and form, light has also come to stand for the triumph of goodness over evil for many cultures, Of utmost importance in Jewish ritual, light and its media are also recognised symbols of connection and interaction for Jewish people throughout the world. (1999, Blessed Be the Work, Australian Contemporary Design in Jewish Ceremony II)

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration

Yields information about the reconstruction of the depot trackwork during 1935/1936 and the condition of the rails, types of rails and methodsSet of 5 Black and white photo prints from collected negatives of the relaying of the depot fan at the SEC Ballarat depot building, during refurbishment by the SEC during 1935 or 1936. 1351.1 - Wendouree Parade depot junction, track - relaying the 2nd set of points. One track was still useable at the time. Note fences and tools lying around the work area. 1351.2 - laying out the trackwork for two and three roads, note machines and cylinders in background. 1351.3 - looking along No. 2 road out of the depot doors, not connected, possibly taken some time after 1351.2, as the area appears to be cleaned up. 1351.4 - Photo showing the various rail weights for possibly the western rail on No. 3 road and how the fishplates were at the time of the photograph. Not known whether this was the final arrangement, taken looking towards the depot building. 1351.5 - ditto but from the other end - note the damaged flangeway on the depot end rail - horse tram rail? Copy 2 - of all above photos - large format prints (203H x 253W) - added 28/7/2007, ex Alan Bradley holding of prints, received 5/2007. See also Reg Item 3901 for a mounted set of these photographs along with those of Reg Item. 1352. Negatives scanned at high res and images updated 14/5/2020. tramways, trams, wendouree parade, sec depot, rehabilitation, trackwork