John GLEESON Living at Campbell's Creek for over 30 years, John Gleeson makes a range of functional stoneware pottery. He fell in loved with pottery during a hobby class in Geelong in 1972. He worked for a year at Canny Ridge Pottery in Harcourt. John Gleeson uses white stoneware and porcelain clay from The Bendigo Pottery, and buff clay from Bennetts Pottery in Adelaide. He mixed all his own glazes from commercially sourced raw materials, sometimes supplemented with ash from his fire and local red clay to get special effects.Large celadon platter with incised fish design. john gleason, studio pottery, ceramics, australian studio pottery

Change the Rules is an ACTU campaign starting in 2018 targeted at regaining fairness around right to strike, work, wages, job security, penalty rates, taxation (especially businesses that pay zero tax), equity for working women and younger workers. Nationally, Change the Rules rallies were held on Wednesday 9 May 2018. A contingent from Ballarat travelled to Melbourne by train and participated alongside 100,000 other unionists in the CBD. Photos: 1. Rally - Melbourne CBD - Pictured left to right, Moses, Doug Stewart (CFMEU/Trades Hall), Gabriel Waldron (Trades Hall staffer), Michaela Settle (State ALP candidate for the seat of Buninyong), Sarah De Santis (State ALP candidate for the seat of Ripon), Brett Edgington (Secretary, Ballarat Regional Trades and Labour Council. 2. Rally - MUA and other comrades marching. 3. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Gabriel Waldron (Trades Hall staffer) in the foreground and Michaele Settle in black jacket. 4. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Tracey Brown, HWU organiser, pictured in red puffer jacket. 5. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Gabriel Waldron (Trades Hall staffer) and Tracey Brown, HWU organiser, pictured in red puffer jacket. From the Change the Rules website: "Australian Unions are campaigning to change the rules so that working people have more secure jobs and better pay. Right now, big business has too much power. A third of them aren’t paying any tax. And, too many big businesses are in a race to the bottom on wages and job security. As a result, 40% of Australians are in insecure work and wages have flat-lined. We need a wage rise and secure work. We need to change the rules to give all working people the basic rights they need to improve their living standards. We are building a powerful movement to change the rules, and we need you to join your union to be part of it."Significant to nationwide union campaigning and to living and working conditions of all Australians.Electronic photographs.btlc, ballarat trades hall, ballarat trades and labour council, union campaigns - change the rules, actu, rallies, wages, penalty rates, workers' rights, women, equal pay, right to strike, taxation

Comprehensive and brief account of the Eureka rebellion and the story of the flag of the Southern Cross. Includes photographs of various artistic representations that are held in the Ballarat Fine Art Gallery. Written for the 150th anniversary of the Eureka Stockade. Contents: Machine derived contents note: Eureka Timeline and Personalities 6 Eureka Revisited: the contest of memories 9 Anne Beggs Sunter The Eureka Flag and its champions 23 History of the Flag 24 Holy Relics - the puzzle of the pieces 35 Design and making of the Eureka Flag 38 Symbols and Legend 40 Artistic interpretations 40 Films 44 Writing and dramatising the legend 47 Songs and Musicals 49 The living tradition of protest 50.Relevant to the history of Ballarat, gold mining, Ballarat Reform League and the Eureka Rebellion.Book; 56 pages; pictorial. Front cover: white background; colour painting, "Pioneer", by Sally Smart; blue and gold text; title.btlc, ballarat trades hall, lalor, peter, humffray, john, eureka stockade, eureka stockade - anniversary, eureka flag, southern cross flag, art and history, ballarat reform league, history - ballarat, ballarat trades and labour council, art, australian - 19th century - exhibitions

"LARGE GATHERINGNG AT - CROSSLEY DEDICATION AND OPENING SERVICES. SERMON BY DR. MANNIX. Yesterday was an important and historic day for the Roman Catholic community of Crossley and Koroit, in as much as it will be always associated in the memories of all con cerned with the opening of the new St. Brigid's Church, Crossley. This building is far above the average standard of sacred edifices in country towns, and is certainly superior to any ercted in this district outside the churches in the two larger centres - Warrnambool and Koroit. The style of architecture chosen is a free treatment of the Romanesque, which is something quite original in the Western District. This noble style, from which, with its near re lative the Byzantine, spring the great Gothic school of architecture, is characterised by a special charm of its own, one of its chief features being graceful and sweeping circular curves in roof, window heads and in the ar rangenent of the ground plan. The building is of brick finished off with true Romanesqiue pillared pinnacles in concrete and plaster, the brick and concrete producing a pleasing contrast. The main characteristic of the front is a large rose window filled with Romlanesque circular tracery, and below a bold porch and entrance. The two sides are pierced with long circular-headed windows between graceful buttresses and the wall line is pleasingly broken by the projecting bays of the confessionals and also by the vestries. The main building is 80 feet by 30 feet' and the Sanctuary is spacious and semi-circular in shape, and lighted by three windows. The interior of the church is most artistic. The ceiling is semi-circular and of fibrous plaster in ornate designs. All the windows are lead lighted, throwing a rich and mellow harmony of' color throughout the interior and the white wails, mouldings, architraves and other fibrous plaster decorations: are further relieved by the rich coloring: in the stations of.the Cross arrranged around the nave. The central window of the Sanctuary contains a splendidly executed stained glass representation of St. Brigid. At.the western end is a room gallery. The altar is a choice piece of Gothic woodwork, in light, soft coloring, and there are two altars on either side of the Sanctuary in oak, and above whlch are very fine colored figures of Christ; and the Madonna. On either side of the altar are life-size figures of angels holding high brass candalabra. The whole of the furnishings of the church are on a sumptuous scale, and the edifice reflects credit on all concerned. The church can seat nearly 500 people. The architect was Mr. A. A. Fritsch. of Melbourne, and the contractors Messrs F. and E. Deagne, of North Fitzroy. The contract price for the building was £5,500. THE OPENING SERVICE. After the cereimony of solemnly blesssing the church was performed by His Lordship the Bishop of the Diocese, Dr. Higgins, assisted by His Grace the Coadjutor Archbishop of Melbourne. Dr. Mannix, the great gatheiring from all parts of the district entered the church, which was soon completely filled. The members of the H.A.C.B.S. attended wearing their green and gold regalia, and acted as a 'guard of honor' to the Co-adjlutor Arclhbishop and Bishop. Mass was celebrated by the Rev. Father Phelan, of Koroit, and a feature of the solemn service was the singing of a choir which consisted of picked voices from St. Carthage's choir, with friends from Warrnam bool and assisted by some of the mem bers of the Koroit choir, with Miss Logan as organist and Mr. Arthur H. Renwick as conductor. They rendered the music in splendid style throghonut. The "Kyrie," "Gloria." "Agnus Dei' and Dona Nobis" were from Farmer's Mass in B flat, and the "Credo" and "Sanctus" from Webbe's Mass in G. The soloists in the Mass were Mrs. Ryan, the Misses McEntee. Miss Katie O'Brien. and Messrs. J. M. Crowley, W. J. Callaghan; B. McEntee and W. Mahony. The chorus sang with great precision, special attention being paid to at tack. At the offertory Mrs. Dan Ryan gave a beautiful rendering of Gounod's "Ava Maria." After the Elevation that fine duet "Tantum Ergo." by Rossi, was sung by Messrs. Crowley and Renwick in an artistic manner, their fine voices blending splendidly. During the collection, Mr. Renwick sang with much feeling that devotional solo, "Lead Thou Me On,", after which Mr Crowley gave .an ex cellent rendering of Weissi's "0 Salu taris Hostia;" and the choir sang several hymns." It might here be mentioned that at the request of Fa ther Kerin, the same choir will repeat the music.at the Koroit Church on Sunday next, on the occasion of the ceremnly of laying the foundation stone of the cormpletion of the church. Dr. Mannix preachled the sermon for the occasion, taking his text from St. Luke first 11 verses. He re viewed the Gospel story of Christ preaching to the multitude from a boat on Lake Gennesaret and the miraculous draught of fish. The obedi ence of the poor fishermen in casting their nets at Christ's bidding was richly rewarded, and the miraculous occurrence was a striking example of what was to happen when Christ established His Church and built it up on those twelve apostles. When they came to think of it, nothing so re markable and marvellous had happened before or since in the history of mankind. The world at that time was for the most part a Pagan world steeped in iniquity and sin. The chosen people of God had God's re velation, but they worshipped with their lips and not with their hearts. When Christ was to establish His Church upon earth and leave an or gantisation that would continue His work, did He select learned men, powerful men, rich men, or a time that would seem propituous? No. He selected twelve poor, igorant simple fishermen, without money, power, learning or anything calculated to enable them to do anything striking in the world's history. The success of the first morning after pentecost was not confined to those first days when the plentitude of the Holy Ghost sat upon the .Apostles, but it continued age after age until the whole world was brought within the sphere of ac tion of the Church. Greece, Rome Europe Asia and America, and now Australia had been brought into the net. This must be a consolation to them all as well as it was to him (the preacher), when they remembered that they came from a land which of all others had been faithful to the Gospel of Jesus Christ. It was a consolation to them that in that great work that had been accomplished in bringing men into the meshes of the Church, and bringing them to God the nation to which they belontged had taken so great a part. Their religion flourished in England, Scotland, America and Australia. Surely it was due to the sons of St. Patrick, the sons and daughters of Ireland to find consolation in these great facts might It might seem hard that so many had to leave their native-land for England, Scotland, America and Australia. But if hard it was the means of keeping the Catholic faith living in England and Scotland. If to-day the Irish Catholics and Catholics of Irish de scent were taken out of the English and Scotch population there would be little left of the true Church of God. It seemed hard to emigrate to distant lands, but the result had been the new magnificent church in the United States, the flourishing churches in Canada and South Africa. Those Irish emigrants were a cornparatively small band. Perhaps they had not the learning of other nations. Certainly they had not the wealth and it did not fall to their lot to have the power of the sword, but God was with them, and the faith they took from Ireland flourished in those distant lands. In this fair land of Australia they had a glorious herit age handed down from the pioneer Irish Catholics, who came to this fair Austral land. There was a time when those who were opposed to God and God's Church,thought that Australia should be a wholly Protestant land. They had lived to see whether God or His enemies were the stronger. They had lived to see that those who in distant days would have stamped out the Catholic religion in Australia, had not prevailed. Their names had been forgotten because of their persecution of the Catholic Church, and they had lived - to see the glorious success that now, in every part of the Common wealth, rested upon the Catholic Church in Australia. Might God bless that Church and those Irish people, and the people of Irish descent, who had built it up. In that locality, and there was no place in.the Common wealth where the Catholic Church was held in higher esteem, the people would always be faithful to God and His Church. That beautiful building, and all it signified in loyalty and faithfulness, was a credit and a consolation to the Bishop and people of the diocese, to the architect who had done his work so artistically and skil fully. to the priests and the zealous administration of the parish. There was surely hope and inspiration in that day's celebration, that as time went on the Catholic faith would sink deeper and deeper into ther coming generation, and that the Catholic progress of the past 50 years would be small in comparison to the great progress of the future. He congratulated the Bishop priests and people who had raised that temple. He congratulated the people of Crossley; upon their generosity and self-sacrifice, and he prayed that God's blessing and the blessing of St. Brigid would rest upon them; their children and children's children. And when those who had received the sacraments and had been instructed in that Church were called before the Judgment Seat he pray ed that not one would be missing, and St. Peter aind St. Brigid would be able to count them all into the en joyment .of Eternal bliss. THE CELEBRATION The Rev. Father Kerin, Adninistra tor of the Parish, after the collection, read a lengthy list of the principal donations, headed by the Bishop, Dr. Higgins, with £250. All the furnish ings of the Church were also donations, and the Coadjutor-Archbishop added £5 to the list. The Rev. Father Kerin stated that the total to hand was £1245/10/7, which was an other proof of the generosity of the Crossley and district people. The amount previously received in donations was £1077/3. They started buildiing with a credit balance of £262 10/5 and ther now had a debit balance of £2,728/18/5. The total cost of the Church was £6,250, so that they would see the greater part of the indebtedness had already been wiped out. The Bishop (Dr. Higgins) delivered a brief address, in the course of which he congratulated the priests and people upon the completion of their magnificent Church. He congratulated the people on their magnificent generosity. He expressed his of deep indebtedness to the Coadjutor Archbishop of Melbourne for the services he had rendered to them. He had attended at considerable sacrifice to himself, and they were extremely grateful for the presence of so distinguished a champion who had shown such zeal and interest in their Church in this new land. He (the Bishop) trusted that his splendid talents would long be devoted to the defence of the Church." (Warrnambul Standard, 02 July 1914)Colour photograph of a portrait of St Brigid in stained glass. The depiction of St Brigid is located at St Brigid's former Catholic Church, Crossley.st brigid, stained glass, st brigid's crossley

The base of the round tower dates back to the 11th century around the time of the Norman Conquest. It collapsed in 1822. In the 15th century the benches in the south aisle were constructed, originally without backs. The screen now painted brown was painted in colours during the Middle Ages. There is practically no stained glass in this church except for a small Flemish 15th century panel in the east window and a tiny head in the window in the south aisle of the nave. Evidence of the destructive work of the Reformers can be seen on the font where chisel marks can be seen, and the removal of a rood beam or loft. This was reached by a staircase, the remains of which can be seen near the pulpit. The pulpit is part of a 17th century three-decker. The hour glass used to time sermons is still in place near the pulpit. There are a few personal memorials in the church. Ingworth has for centuries been a village run b the people living in it. Many of them now lie in the churchyard, while at least one member of the Harmer family from Baconsthorpe and Ingworth emigrated to Australia, settling in Victoria. Information extracted from booklet researched and written by Valerie Belton.st lawrence church, ingworth, england

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Mr. J. Vallins - Reminiscences given before the AHRS, City Hall, Ballarat on Nov 26th, 1899 : Vallins, born in Berkshire in 1831, arrived in Australia at Geelong in 1854. He came to Ballarat for the gold and spent most of the rest of his life here, living in Ligar Street. He died in 1904 and is buried in the Ballarat Old Cemetery.

The Boyds purchased their record player and sound system from Thomas’s in Melbourne. Patricia Boyd (later Davies) was very interested in opera and was later appointed to the Board of the Australian Opera.Living French. A complete language course. LP 33RPM vinyl - Box set, Catalogue Number: 23727, 1 cardboard box cover with hinged lid, 4 paper record record sleeves, 4 vinyl disk, 2 booklets (dictionary and conversation manual). Ralph Weiman.lp, sound recording

Discusses the varied contributions of the Boyd family members. Robin Boyd is discussed on p 71. Robin ais still living when this was written and it mentions Expo 70. POL was a monthly magazine, first published by Gareth Powell Publishing in Australia in the late 1960s.pp 68-71walsh st library

Henri John ARCHER was born in Brunswick Victoria, Australia, on 27th May 1907, to parents William Thomas and Hetta (née LAWSON) ARCHER. In 1934, Henri married Stella Florence COLLER, and they had 3 children. Living in Balwyn, Victoria, and employed as an Insurance Superintendent, Henri commenced full-time duty as an officer in the Citizen Military Forces from 7th July 1940, until 20th February 1941 (number V7097). His appointment in the rank of Major with the 7th Infantry Battalion was due to him having served part time as an officer in the CMF since 1927. On 21st February 1941, Henri joined the Australian Imperial Force and was appointed as a Major, with the number VX39872. Following the completion of various armoured corps training courses at Puckapunyal, he was taken on strength with the 2nd/8th Armoured Regiment. On 17th April 1943, Henri embarked for service in New Guinea, for a period of 2 months. He again embarked on 3rd September 1943, for service in Rabaul, returning to Australia on 6th February 1944. Following the end of the War, on 8th May 1946, Henri was appointed as a member of the War Crimes Courts with HQ 8MD, and embarked for duty with the War Crimes Trials in Rabaul two days later. Henri returned to Australia on 15th August 1946, and was subsequently transferred to the Reserve of Officers (Armoured Corps) list for the 3rd Military District (Victoria) on 27th November 1946. He was awarded the Efficiency Decoration, as well as the 1939-45 Star, Pacific Star, 1939-45 War Medal and the Australia Service Medal. He was also issued Returned from Active Service Badge number A343705. Henri died in Melbourne on 27th July 1971, aged 64, and his ashes are interred in the Springvale Botanical Cemetery, Banksia Wall ZJ, Niche 01. (Compiled by Karan CAMPBELL-DAVIS from historical records kept by Births, Deaths and Marriages Victoria, the National Archives of Australia, and Find A Grave website. )Photograph mounted with timber frame. Some manuscript inscriptions of reverse.HENRI JOHN ARCHER / VX39872 / B 27 MAY 1907 / ENL 7 JULY 1940 / DISCH 26 NOV 1946 / OC A SQN 2/8 AAR [and] PURCHASED FROM EBAY / MAY 2024 [followed by signature undecipherable]wwii, armour, 2/8 armourned regiment, war crimes, rabaul, cmf

This album of Comradeship activities was compiled by Legatee Fred Holdsworth. It contains photographs, newspaper cuttings and ephemera relating to various “Comradeship” activities (social gatherings) held throughout the 1970s and early 1980s. Items included various events legatees participated in. First few pages had photos from a gathering at Cruden Farm on 15 May 1977. Cruden Farm was owned by Elisabeth Murdoch, the mother-in-law of Legatee Geoff Handbury. It appears there was a kite flying contest. Names are not listed. Three photos were from Queensland where Legatee Wal Escott had retired at Mundoona apartments, Noosa Heads, one photo shows him with Lorna Grimwade on 6/10/1979. There is a black and white photo of Max Armstrong, Rex Hall, Harry Burton, Warren Hardy riding horses in the Anzac Day march. The year is not known but an accompanying newspaper article mentions that they had been riding every year for 13 years on horses loaned by the police mounted branch. The newspaper clipping shows another photo of the four. A photo of seven legatees including David Carter were at the Numurkah Annual meeting in 1978. There are 8 photos of a gathering of Legatees and their wives at Stanhope in 1979. A photo of a Christmas party at Chaucers in 1979 was missing from the page, it has shown Choirmaster Reg Thomson and Choristers; Rob Allison, Bruce Hall, Les Patch, Bill Seager, David Syme and Ron Austin; with the M.C. being Fred Holdsworth. There was a trip to a trout farm in Alexandra Yea area in February 1978. At a comradeship evening there a photos showed the Comradeship committee of Harold Berg, John Cooper and Fred Holdsworth. Also photos from Anzac Night in 1980 and 1981. Plus other gathering at people's homes. A black and white photo of men in formal black tie, is from a night at the Windsor Hotel to farewell Sit Thomas White to become Australia's High Commissioner in London. Left to right are Sir Archie Michaelis, Sir John Latham, Sir Thomas White, Lt Col Donovan Joynt and Sir Stanley Savige. At the 1981 comradeship Christmas party, the held a 'this is your life' tribute to President Ken Green.The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other.Brown vinyl photo album. The front cover is embellished with a double gold border. The album contains thirty pages bearing both colour and black and white photographs as well as newspaper clippings from various “Comradeship” events during the 1970s and 1980s.Inside cover - “A record of Comradeship activities / Fred Holdsworth” ? First page - “AT CRUDEN PARK / 15 May 1977” Third page - “CHAMP THE KITE MAN” Fourth page - “THE SHRINE 1977” / “THE CHAMP” / “REX” Fifth page - “Lorna Grimwade/ + Wal Escott/ at Noosa Heads, Q. / 6/10/79” Sixth page - “Max Armstrong, Rex Hall, Harry Burton, Warren Hardy” Seventh page - “Numurkah Annual 1978” / “ANZAC Night 1973” Eighth page - “STANHOPE 1979” Ninth page - “THE CHRISTMAS CHORISTERS at CHAUCERS CANTERBURY 1979.” / “FEARLESS FREDS FAMOUS FOLLIES. CHOIRMASTER. Reg Thomson. CHORISTERS. Rob Allison. Bruce Hall. Les Patch. Bill Seager. David Syme. Ron Austin. / M.C. Fred Holdsworth.” Tenth page - “ALEXANDRA YEA / ~ / FEBRUARY 1978” Eleventh page - “COMRADESHIP HIERARCHY 1979 / HAROLD BERG / DEP CHAIRMAN / JOHN COOPER / CHAIRMAN / FRED HOLDSWORTH / TREASURER” Twelfth page - “ANZAC NIGHT / ~ / 1980” Eighteenth page - “ANZAC NIGHT - 1981” Nineteenth page - “ANZAC NIGHT -1981” Twenty Second - “THIS IS YOUR LIFE / 1981 comradeship/ christmas party” comradeship, events, legatee event

A planting of a pine tree at Heidelberg Repatriation Hospital on 17 April 1991. Legacy had a programme of donating trees grown from seeds from Lone Pine in Gallipoli. One photo shows 4 Gallipoli veterans standing by the newly planted pine tree. One shows President John Sullivan with the shovel. Also with representatives of John Allison / Monkhouse who provided the plaques for the tree. A different photo was used in the July 1991 issue of the Widows' Newsletter (later called The Answer) and explained two small Lone Pine trees were donated in appreciation of the care extended by the hospital to widows and dependents of veterans. Special guests included WW1 Gallipoli veterans who had revisited Gallipoli for its 75th Anniversary. White paper labels say: "Gallipoli 'Lone Pine' Lives on. Two lone pine trees, propagated from Gallipoli Lone Pines, were presented on behalf of Melbourne Legacy to the Heidelberg Repatriation Hospital by the President, Legatee John Sullivan. The trees were presented in appreciation of the care extended by the Hospital to widows and dependants of veterans." "Commemorative plaques. Managing Director of John Allison / Monkhouse, Mr Clive Allison and Legatee Rob Allison presented bronze commemorative plaques which will be installed by the trees." "Gallipoli veterans were special guests at the presentation." The Heidelberg Repatriation Hospital has a proud history of caring for Veterans and War Widows. From the early 1970s Legacy had a commemorative programme of providing trees grown from seeds from Gallipoli to various towns throughout Australia. This may be part of that project (see the Lone Pine brochure at 00593) or subsequent propagation undertaken by Legacy. Melbourne Legacy’s Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. On the 14th September 1989 further seedlings were collected with the hope to raise 1,000 trees from the seeds. Thus, Legacy is helping to keep the memory of the Gallipoli 'Lone Pine' alive – its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others. Photos were taken by the publicity officer Susie Howard.A record of a tree planting of a Lone Pine tree.Colour photo x 6 of a tree planting at Heidelberg Repatriation Hospital.On the back 'Lone Pine Heidelberg Repat.', handwritten in black ink. White paper labels with black type captioned group of photos.tree planting, answer, lone pine

A planting of a pine tree by Legatee Mal Huffman and two children at Aberfeldie Primary School. It appear in The Answer in June 1995. From the early 1970s Legacy had a commemorative programme of providing trees grown from seeds from Gallipoli to various towns and schools throughout Australia. This may be part of that project (see the Lone Pine brochure at 00593) or subsequent propagation undertaken by Legacy. Melbourne Legacy’s Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. On the 14th September 1989 further seedlings were collected with the hope to raise 1,000 trees from the seeds. Thus, Legacy is helping to keep the memory of the Gallipoli “Lone Pine” alive – its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.A record of a tree planting of a Lone Pine tree.Colour photo of a Legatee and two children planting a tree.On the back "Copyright of Community News.", stamped in red ink.tree planting, lone pine

A planting of a pine tree by a man and two school children at what could be a school. There was a service with speeches and a band playing. The venue, names and date are unknown. In the early 1970s Legacy had a commemorative programme of providing trees grown from seeds from Gallipoli to various towns throughout Australia. This may be part of that project (see the Lone Pine brochure at 00593) or subsequent propagation undertaken by Legacy. Melbourne Legacy's Commemoration Committee was responsible for the collection, propagation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. On the 14th September 1989 further seedlings were collected with the hope to raise 1,000 trees from then seeds. Thus, Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.A record of a tree planting of a Lone Pine tree.Colour photo x 8 of a tree planting at a school.tree planting, lone pine

Yields information about the operation of one man trams in Ballarat and Bendigo and the provision of information to the American tramway or Street car press. Has a strong association with the Author - Mr Pringle.Series of five digital images of items from the Electric Street Railway Journal about one-man tram operations and wages in Ballarat, written by the ESCo Manager, Mr P J Pringle, Chief Engineer and General Manager. Images i1 and i2 - pages 172 and 173 - letter titled "Improved one-man Operation in Australia", Vol 47 No. 4, 22/1/1916 - describing the operation, and how it operates. Reference to the use in other places in made by the author and the magazine. image i3 - general comment making possible reference to a UK magazine - and how one man tram are worked and their routes, including tickets and wages. From Vol 46, page 23, 4/12/1915. image i4 - "The Principals of Differential Wages in Awards" - Vol 56, No. 19., 6/11/1920 page 965, looking at wages based on locations, arbitration, over WW1, including cost of living and renting. image i5 - "One Man cars in Australia" - Vol 55, No. 24, 12/6/2020 - page 1206, looking at the accident rates between one and two man cars.trams, tramways, one man trams, electric street railway journal, ballarat, bendigo, esco, wages, fares, accidents

Forty Four page, with glossy white cover and plain white paper inside - "The Tramway Record Vol. 54, No. 11 March. 1992" - with title in green ink and Australian Tramway and Motor Omnibus Employees Association logo on the front cover. Printed by the Victorian branch of the union. Features on the front cover a photo (see image) of the W7 1032. Other items featured are "Tram Stories" written by Frank Puls (Ballarat), pages 29 - 30, about his activities with the Ballarat Tramway Preservation Society, his liking for trams, training, incidents. Features a photo of Frank standing adjacent to No. 13 in Wendouree Parade and a photo taken on Christmas Day 1991, with an Explorer Coach driver. On page 31 - 36 traffic returns and wage comparisons over the years provided by Norm Maddock of The Tramway Museum, Stanhope St. Malvern. Shows cost of living adjustments to wages.trams, tramways, unions, melbourne, ballarat, btps, atmoea

Sixteen page booklet, off white paper, saddle stapled, with additional cream colour paper cover titled "The Australian Tramway Employees' Association with the Electric Supply Coy. of Victoria Limited / Agreement". Dated on cover 1923. Agreement dated 23/11/1923, to 31/3/1925. Applies to both Ballarat and Bendigo. Details hours of work, rates, Sunday runs, casual rates, holidays, free passes, uniforms, training students, meal relief, one-man cars, eyesight tests, dismissals, meals, Board of Reference. Gives schedules for various grades, and a schedule for quarterly adjustment of wages depending on a cost of living index. On rear page - page 16, has the name of "Fremantle Municipal Tramways and Electric Lighting Board" as the name of the respondent - printing error, or heard at the same time. Signed by William J Home for P. J. Pringle for ESCo and John L Abfalter Vice President and T. Jewell General Secretary for the Union. Three copies held. Copy 1 - complete Copy 2 - missing rear cover Copy 3 - missing covers"Ballarat Tramway Preservation Society Catalogue No. 212" in ink on top of outside cover., Copy 1, Copy 2, Copy 3trams, tramways, bendigo, ballarat, atea, unions, agreements, esco

This book is a replica of a booklet printed in the United Kingdom. In 1848, when it was published in London as a guide to prospective emigrants, 23,904 people left the United Kingdom for the Australian colonies and New Zealand. In 1847, with the failure of potato crops threatening famine in Ireland and growing political unrest at home, the British Government had once again encouraged emigration by offering free passage to candidates of 'good character'. Immigration, particularly by the labouring classes, was intended to relieve both the overburdened Mother Country and the colonies which had acute labour shortages. The booklet gives some history of each colony as well as the sale of lands, mines and mining, produce, the price of living, wages and, generally, the situation. The emigrant's friend, or authentic guide to South Australia including Sydney: Port Phillip, or Australia Felix: Western Australia, or Swan River Colony: New South Wales: Van Dieman's Land: and New Zealand. Reprint. Reader's Digest Services Pty Limited; Surrey Hills (NSW); 1974. 40 p. Soft cover. australia; colonies; settlement; nsw; port phillip; western australia; south australia; van dieman's land; new zealand; emigration; immigration;

Frederick Douglas Jones ( - 14/7/1927) Born in Ireland and came to Australia as an infant, Frederick was admitted as an attorney 8/7/1878. He formed a partnership with Frank Macaboy in 1878 and initially they were located in Gould's buildings in Bull Street but by 1882 they were practising from the Albion Chambers in View Street. When he died, Frederick had been practising for 50 years and was living at Myrtle Street.F D Jones solicitor cash book No 2 ledger cover - 12 March 1900 to 30 June 1908 - 135 page sets (LH received and RH money paid)Handwritten ledger entries1900 - 1908 entries, f d jones, cash book

[a] Plain white envelope with stamped corner removed addressed in printed black ink to 'Miss Mary Jolley' 632 Hargreaves Street , Bendigo, 3550, Victoria, Australia. Reverse features printed oval blue ink stamp approximately 2.5mm x 2mm showing rampart lion and unicorn with royal crown coat of arms, reading 'The Bailiff' , Guernsey. [b] Letter dated 28th October 1977 addressed to Mary Jolley above address, including printed letter-head reading 'The Bailiff's Chambers, Royal Court House, Guernsey and oval Bailiff Stamp. Letter reads, Dear Madam, thank you for letter of the 30th September. There are as far as I know no members of the Maingay family in Guernsey at present. Up to a few years ago there was a Mainguy living here but he is now dead leaving no descendants in Guernsey. Signed Arthur S Mahy, Secretary to the Bailiff.bendigo, history, aviation 1920s.

Collection of newspaper articles and colour photo of Violee Davey, who was a student at Golden Square Laurel St. 1189. Violee was born on 10th June, 1906, to David and Margaret Davey, one of 16 ? Children. She was a volunteer at the Bendigo Easter Fair for 81 years. She received the Order of Australia Medal for services to community. Violee was the oldest living ex pupil at the 125h. Anniversary celebrations in 1998. Photo shows Violee cutting the 125th. Centenary cake, with Zac Allen, the youngest student. Photo is entitled 'youngest and oldest student' Article 'Happy days recalled' tells the story of Violee's days at Golden Square Primary and the celebration of her 100th. Birthday.Bendigo Advetrtisereducation, primary, golden square laurel st p.s.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.

Frances Burke: Designer of Modern Textiles Australia’s most influential and celebrated textile designer of the mid-20th century, Frances Burke (1904-1994), employed Australian native flora, garden flowers, marine subjects, Indigenous culture and increasingly, abstract motifs in her stunning modern fabrics. A confident, determined designer and businesswoman; Burke made the shift from fine art to design in 1937. While she began by designing dress fabrics for Melbourne’s fashionable Georges Department store, printing them on linen using lino blocks, she was an early adopter of the screen-printing process and during the war years began printing on cotton. Burke’s furnishing fabrics took their place in influential modern buildings Australia-wide through collaborations with leading architects and interior designers. They included Robin Boyd’s 1949 House of Tomorrow, Roy Grounds’ Quamby flats, Guilford Bell’s Royal Hayman Island Resort for Ansett Airlines, and Yuncken, Freeman Brothers, Griffiths and Simpson’s Canberra Civic Centre Theatre. In the post-war period, Burke made regular trips to the United States and Europe, on her return advising homeowners and manufacturers on the latest trends in products, colours and home design in lectures and interviews. At New Design her fabric showroom and interior design consultancy Burke introduced furniture by emerging designers Clement Meadmore and Grant Featherston in the early 1950s and presented local and imported homewares, mostly from the United States. She was enthusiastic about the convenient and comfortable lifestyle experienced by ordinary American women. Her fabrics and advice were regularly featured in Australian Home Beautiful, Australian House and Garden and the newspapers of the day. Some of Burke’s designs had remarkable longevity. Tiger Stripe (1938) for example, continued to be produced in a wide range of colours until 1970 and Crete (1946) remained a popular choice for interiors into the 1960s. Drawing from a rich variety of sources including Indigenous culture in Goanna (c.1954) and Pacific Island tapa cloth designs in Bird and Tree (1940), Burke also looked to Japan in designs such as Plum Blossom (1948) and Zen (1965). She loved exploring the potential of native flora, seen in designs including Waratah (1955) and Flannel Flower (1955), while garden flowers were the source for many other designs including Belladonna (1940), Periwinkle (n.d.) and Rose (1947). Burke’s clever interplay of a single striking printed colour with lively gestural lines revealing the white base fabric, gave her designs a vibrancy that characterised the optimistic post-war era. This can be seen in Burke’s fabrics for Hayman Island including Angel Fish and Seapiece (both 1949) which expressed the freshness and excitement of the luxurious new tropical resort and led to further commissions. Burke’s three decades in business (1937-1970) were an unparalleled success in the story of Australian design. Her fabrics have been collected by the NGA, the Powerhouse Museum, NGV, RMIT Design Archives and Sydney Living Museums in addition to Ararat Gallery TAMA. Written by Nanette Carter and Robyn Oswald-Jacobs.