Timetables - provide information on ticketing, fares, timing points, with a description of the route and a map. 1 - West Preston - Northcote - City - routes 9, 10, 11 - Feb. 1972 2 - North Coburg with connecting bus to Fawkner and Gowrie - Upfield on Sundays route 19, 20 and 18 - March 1972 3 - North Balwyn Burwood - City - routes 48, 40, 41, 37, 74, 75, 76, 28 - Feb. 1972 4 - West Coburg - Domain Road and West Coburg City on Sundays - routes 55, 56 and 68 - March 1972 5 - West Maribyrnong - City - (bus routes on Sunday only) - routes 57, 54, 60, 58 and 50 - Feb. 1972 6 - Essendon Aerodrome - City - route 49, 49, 52 and 51 - March 1972 7 - Footscray - Moonee Ponds - bus route on Saturday afternoons and Sundays - route 82 Feb. 1972Yields information about MMTB tram services during 1972Set of seven MMTB tram timetables - multifolded printed on yellow or green paper.timetable, mmtb, route 10, route 9, route 11, route 19, route 18, route 20, route 48, route 40, route 41, route 37, route 74, route 75, route 76, route 28, route 55, route 56, route 68, route 57, route 54, route 60, route 58, route 50, route 59, route 49, route 52, route 51, route 82

LANDATA Land Victoria plan printout dated 2010Part of Crown Allotments 1, 1A, 2, 3, 4, 5, 6, 7, 8, 9, 10, 55, 56, 57. Section C Crown Allotments 3, 12 & part of 2. Section B Map includes Bedford Road, Government Road (later Bedford Park Road then Hill Street), Marwarra Street and Tooronga Road, Ringwood. (Sheet 1 of 2 - Sheet 2 not included with collection).

Image taken on a bus trip, 26 November 1978. Christ Church was constructed in 1854-57 and designed in Decorated Gothic style by Albert Purchase & Charles Swyer. It was enlarged in 1874 and 1881 to the designs of Sydney W Smith. It is one of four main buildings constructed on land granted to the Church of England in 1855 and named Church Square. The other buildings are the bishop's residence, vicarage and parish hall. Heritage Victoria describes it as a 'rare and significant square in the history of town planning in Victoria which demonstrates the importance of the church to the community'. It is built from rarely used undressed random coursed sandstone from Point King Sorrento. It is located at 14 Acland Street, St Kilda. The triangular rose window is said to have been modelled on Lichfield Cathedral and shows outstanding craftsmanship. According to Heritage Victoria, the only other known example in Victoria is at St Georges Presbyterian Church in East St Kilda, designed by the same architect, Albert Purchas.colour photograph polaroidSKHS Bus trip 26/11/78 Christ Churchrose window, acland street, purchase, swyer, st kilda, christ church, churches

Cardboard-backed advertisement for 39 home sites for sale, with location map, and summary of local real estate statistics in 1955 & 1956. Handwritten date noted in top right corner - 24th March, 1956.Subdivision map includes Reilly Street, Philip Street, Lorienne Street and Daisy Street in Heathmont. Surveyors: Messrs Little and Brosnan. Agents in conjunction: Peter Martin Pty. Ltd., Estate Agents, 55-57 Latrobe Street, Melbourne (Phone) FB 3571, FB 2783, and Peter Aubin Pty. Ltd., Auctioneers & Estage Agents, 345 Lonsdale Street, Dandenong (Phone) Dandenong 340, after hours Dandenong 932, 70.

Book. ALEC H CHISHOLM COLLECTION. 259 page autobiography of ''Evans of the Broke'', Admiral Lord Mountevans. Includes 32 B & W photographs. He was 2IC of Capt. Scotts's last Polar expedition and Commander in Chief of the Royal Australian Navy , the African Station and the Nore. Published in 1946 by Hutchinson & Co. and printed by the Anchor Press, Essex. Catalogue sticker ''2244 MOU'' on spine. Reference made to A. H. Chisholm on page 169. Newspaper cutting from Sydney Morning Herald, 22/8/57 obituary notice for Mountevans. He died in Norway. Handwritten in green biro on flyleaf ''I do not recall having assured Teddy Evans, 'The good winds blow through your heart' but I hope I did. Anyway, he was an admirable bloke and that's even more creditable than being an Admiral. See p169 Alec Chisholm''Edward Evansbooks, collections, biography, alec h chisholm collection, admiral lord mountevans, biography, navy, explorer

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Invicta Australian 1957 Business Diary, No. 4, printed by Sands and McDougall, light brown Rexene binding, card covers, sewn sections with ruled sheets providing a diary for 1957, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc Rear pages - has notes on materials used. Loose contents 1 - 18/11/1957, note dated 26/9/57 to track foreman re work at the Cooling Tower, B station. 2 - 23/12/1957 - envelope address to H. Smith Tracks - with Yallourn Briquettes sales department logo and address details. 3. - Inside rear cover - plan of hospital corner - showing plan of broken joints? tram, trams, sec, ballarat, depot, trackwork, rails

The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.On 21 December 1898 an application to transfer the license of the Terminus Hotel from Mrs Annie Haldon to Mr William Carkeek was lodged This was granted by the Wodonga Licensing Court on 12 January 1899. In February of that year, it was transferred to Mrs. Rebecca Carkeek. William Carkeek died on 17 March 1900, aged 57 years. In November 1900 Mr. Daniel Crawford took over the license. In March 1906, the Carkeek family returned to the Terminus Hotel when their son Stephen purchased the business. In January 1909, tenders were invited for Freehold Purchase of the property. It was available on a 7 year lease at a rental of £9 per week In 1913 Stephen Carkeek disposed of the goodwill of the business to Mr Wilson of Grenfell, New South Wales, thus ending the Carkeek family’s long association with the Terminus Hotel. He died in Beechworth on 16 May 1928.Across side of building "CARKEEK'S TERMINUS FAMILY HOTEL"hotels wodonga, businesses wodonga, terminus hotel wodonga, william carkeek

Folded double-sided brochure advertising residential land sale auction on Saturday 24th March (1956), with locality map and subdivision layout, terms of sale, and summary of local features and services. Subdivision includes Reilly Street Ringwood, and Philip Street, Daisy Street, and Lorienne Street Heathmont. Surveyors - Messrs Little and Brosnan. Agents in Conjunction - Peter Martin Pty. Ltd., Estate Agents, 55-57 Latrobe Street, Melbourne (Phone) FB 3571, FB 2783, and Peter Aubin Pty. Ltd. R.E.S.I., Auctioneers & Estate Agents, 345 Lonsdale Street, Dandenong (Phone) Dandenong 340, After Hours, Dandenong 932, 70.

An election card for Eddie Walsh, used in the Footscray Football Club committee elections of 1960. The card outlines his credentials, including his associations with the senior and junior football club and the Footscray Colts Cricket Club. The card refers to Roy Russell, the late Secretary of the Footscray Football Club. See Supplementary Information for related information on the election campaign in the Footscray Advertiser.This item of ephemera is highly significant as only two copies of this election card are known to exist.A single-sided election card with blue text and image of Eddie Walsh'F.F.C Elections - 1960/For Progressive Administration Vote Eddie Walsh to Committee/Life Member Footscray Football Club/Hon. Secretary Footscray 3rd 18, 1948-57/Hon. Secretary F'scray Colts F.C., 1940-48/Life-Member Footscray Colts Cricket Club/Official Registrar F.F.C. 1959/Experienced and knowledge of recruiting gained with the late F.F.C. Secretary, Roy Russell/R. S. Smith, Printer, Footscray - MW 2871.'footscray football club, election, 1960

JOHM ADAMS was President of the Bendigo RSL from 1917 - 1921. He was one of the movers and mainstays in the formation of the Bendigo Sub Branch. It was also stated that his determination had carried into effect the plans for the "Soldiers Memorial Institute" Pall Mall Bendigo. John Adams had extensive service pre WW1 with Bendigo Volunteer Rifles,4th Militia BN, Victorian Cavalry,5th Militia and the 67th Bn. Appointed Lieutenant 25.11.1900, Capt 1.7.1907, Major 16.4.1913. He applied for a Commission in the AIF on 26.11.1914 and embarked on 22.12.1914 with the 14th BN for Gallipoli Campaign, WIA 3.5.1915, apon return to duty he took command of the 14th Bn for a period until invalided to England with chest and cardiac problems. He returned to Aust in Feb 1916 and his appointment was terminated on 22.4.1916. Post War with a change in retirement age he was invited to recommence service with the temporary rank of Lt Col to Command the 38th Bn when it returned to Aust in 1919. He retired on March 1st 1920 age 57. Framed photograph, timber brown colour with gold edging. At the top a colour enhanced portrait against a soft yellow background, under is text relating to the portrait and his service.Main point, "Lt Col John ADAMS" brsl, smirsl, portrait

Jonathan Binns Were (1809-1885) was born in Somerset, England on 25 April 1809. Before he migrated to Australia in 1839, he worked with colonial merchants and bankers Collins & Co. in Plymouth. Initially trading under his own name, he formed Were & Co. with his brother George and his brother-in-law, Robert Stevenson Dunsford, then, after 1861, JB Were & Son. Were’s were importers, exporters and agents for shipping, land, cattle, sheep and wool; gold brokers and buyers (after 1851); and share dealers (after 1853). Were went bankrupt twice in 1843 and 1857, the former connected with his association with Henry Dendy and the Brighton subdivision. Were lived in Brighton at Moorabbin House and represented Brighton in the Legislative Assembly in 1856-57. In 1865 Were became the first chairman of the Melbourne Stock Exchange; he was the first president of the Chamber of Commerce and served on the board of many public and private institutions and companies. He was Port Phillip’s first Justice of the Peace; and organiser of the 1881 Melbourne Exhibition. He was knighted by the Kings of Sweden and Denmark.portrait, j.b. were, jonathan binns were, merchant, policitian, melbourne stock exchange, justice of the peace, victorian legislative assembly, stockbroker, c.m.c, m.l.a., j.p., a. bonville were

Set of 13 The Met timetables, with an image of the relevant depot manager, details of hiring a tram, The Met fare system, and a diagrammatic map. All are revised issues of earlier timetables and dated Feb. 1996 unless noted otherwise. 1 - Route 3 - East Malvern - City 2 - Route 5 - Malvern Burke Road - City 3 - Route 6 - Glen Iris - City 4 - Route 55 - West Coburg - Domain Interchange 5 - Route 57 - West Maribyrnong - City 6 - Route 59 - Airport West - City 7 - Route 69 - Kew Cotham Road - St Kilda Beach 8 - Route 70 - Wattle Park - Princes Bridge 9 - Route 72 - Camberwell - Melbourne Uni - Dec. 1996 10 - Route 78, 79, North Richmond - St Kilda Beach or Prahran 11 - Route 82 - Moonee Ponds - Footscray 12 - Route 96 - St Kilda Beach - East Brunswick 13 - Route 34 - La Trobe St Services - includes routes that served La Trobe St.Yields information about some of The Met tram services Feb. 1996Set of 13 The Met timetables, DL size, printed in two colours.timetables, the met, route 3, route 5, route 6, route 55, rout 57, route 59, route 69, route 70, route 72, route 78, route 79, route 82, route 96, route 34, la trobe st

Collection of Black & White photographs of the construction of the second Phillip Island Bridge by the Country Roads Board. Contractor John Holland & Co Pty. Ltd.Black & White photographs of the Construction of the Phillip Island 2nd Bridge in 1969 351-01: View from centre of suspension bridge. 351-02: Concreting Pier 8 351-03: Concreting Pier 8 351-04,05 & 06: Metal beams. 351-07: Driving sheet Piling. 351-08:Reinforcement in caisson (watertight structure)351-01: Country Roads Board Victoria, Aust. Negative No. 67-37 - Phillip Island Bridge Project. Shire of Bass 352-02: As above - Negative No. 67-38B 352-03: As above - Negative No. 57-38D. 352-04: Negative No. 67-223A. 352-05: Negative No. 67-223B 352-06: Negative No. 67-223D 352-07: As 352-01-03 plus Negative No. 67-312 352-08: As above - Negative No. 67-272.phillip island bridge (1969), country roads board, sasha stark

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned by Mrs Grace Tabulo, and displayed at her home - Fairyland - at 57 Malmsbury Street, KewAn invitation, mounted on card to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. Front, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / ****l (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE." Reverse: Mrs G. Tabulo, 57 Malmsbury Streetaustralia -- federation -- 1901, invitations, parliament -- opening -- 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

Part of a collection of photographs donated by Julie Barnett. Photographs taken by Julie's In-law's whilst on their honeymoon in November 1946.229-50. Black & White panorama of 4 photographs joined together of Westernport from San Remo looking towards Newhaven. Piers with bridge in background & boats in the bay. 229-51. Black & White photograph of Shelly Beach. 229-52. Black & White photographs (2 pasted together) of Inverloch Inlet. 229-53. Black & White photograph of Westernport with S. S. Reliance in the bay. 229-54. Black & White photograph of a Sea bird sitting on top of a pole. 229-55. Black & White photograph of the Chapel at St. Paul's Training School in Newhaven, Phillip Island. 229-56. Black & White photograph of the Summerland Jetty and coastline. 229-57. Black & White photograph of a Corvette in Westernport Bay. Trees in foreground and man walking on the beach. 229-58. Black & White photograph of Westernport looking towards French Island. 229-59 to 229-62. Black & White photographs of a Koala in a tree.westernport bay, westernport, shelly beach, inverloch inlet, s.s.reliance, wildlife - seabirds, seagull, st. paul's training school newhaven, phillip island, chapel at st. paul's training school, summerland jetty phillip island, corvette westernport bay, wildlife - koala, koala

Framed photograph of the history of H.M.A.S Australia 1928 - 1954. H.M.A.S Australia was one of three County Class Heavy Cruisers that served with the R.A.N during World War 2.The other 2 being H.M.A.S Canberra and H.M.S Shropshire. Canberra was sunk on the 9th August 1942 at the battle of Savo. H.M.A.S Australia had a length of 192.13M - a beam of 20.8M - a draught of 6.5M. She had a top speed 0f 31 knots (57 km/h) or 36 mph. The British Government donated H.M.S Shropshire to replace Australia. Australia's Battle Honours include Atlantic 1940-41 Pacific 1941-43.Coral Sea 1942- Savo Island 1942- Guadalcanal 1942 - New Guinea 1942-44 - Leyte Gulf 1945 Lingayan Gulf 1945. H.M.A.S Australia was commissioned on 24/04/1928 and paid off on the 31/08/1954. She was broken up in Britain in1956.See description.

Photographs collected by Earnest Albert Simmons W/2129 Royal Australian Navy. Enlisted 30 June 1941 and discharged 14 October 1946 with the rank of Leading Stoker. Posting at discharge was HMAS Lonsdale..1) Ship .2) Submarine conning tower .3) Ship .4) Hospital ship .5) Ship at anchor .6) Launch at ships side .7) Ships at anchor .8) Sunken ship .9) Ship .10) Group on launch .11) Ship firing a broadside .12) Wooden sailing vessel .13) Ship .14) Ship .15) Pilot station .16) Ship .17) Ship .18) Ship.s deck and biplane .19) Partially sunken ship .20) Two ships .21) Ship .22) Ship - damaged .23) Ship .24) Statue and colonade .25) Searchlights .26) Ships deck at sea .27) Aircraft .28) Ship .29) Ship .30) Troop ship .31) Swimmers at ships side .32) Ship .33) Ship .34) Ship deck at sea .35) Ship .36) Submarine .37) Ship .38) Ship .39) Ship .40) Two ships at sea .41) Ship .42) Aircraft carrier .43) Ships symbol .44) Sketch of Berbera .45) Sketch of biplanes .46) Boat at pier .47) Tug boat .48) Ship .49) Ship at wharf .50) Ships at wharf .51) Aircraft carrier .52) Ship .53) Ship at wharf .54) Ships at wharf .55) Ship .56) Two ships .57) Tug boat .58) Diagram comparing the size of two ships .59) Ship sailing past lighthouse .60) Postcard HMAS "Stuart". .1) Hobart and Glascow at Colombo .2) British submarine returning to Alexandria after claiming a victory - note Skull and X Bones .3) HMS Glascow at Colombo .4) Ex Italian hospital ship taken over by British. RAMB II .5) HMS Exeter .6) The landing party returning .7) Part fleet at Colombo .8) British ammunition ship sunk by sabotage in Alex Harbour .9) HMS Exeter .10) On the approach of the island. Note twin Lewis guns .11) HMS Ajax bombarding Bardia .12) A native boat used along coasts and Indian Ocean .13) RMS Georgie refoated at Pt? 1941 .14) HMS Carthage .15) Pilot station at Colombo .16) Aquitania .17) Ajax on patrol with Hobart and battle fleet .18) Hobart rolling in the Bight .19) HMS Gnat (river gun boat) hit by torpedo at Tobruk .20) - .21) Mauritania .22) Italian cruiser sunk by HMAS Sydney .23) Greek destroyer .24) Memorial of Mohomed Pasha Alexandria. Presented by Musso .25) Searchlight at Alexandria .26) Hobart pile driving in heavy weather .27) Lockheed Hudson dive bombing .28) - .29) HMS Galatea? x 1 turret at stern .30) Troops on Aquitania .31) Boys swimming in the middle lakes at Ismalia in the centre of Sues Canal .32) A water NG ? .33) - .34) Hobart striking heavy weather .35) HMS Jupiter .36) British submarine entering Alex .37) Queen Mary .38) Queen Elizabeth .39) Nieuw Amsterdam .40) - .41) Achilles .42) HMS Aircraft carrier - Illustrious .43) Symbol of Hobart's Pom-Pom .44) - .45) - .46) - .47) - .48) Mohoja and Oronties .49) Mohoja .50) - .51) - .52) HMAS Murchison 1954 .53) Strathmore .54) - .55) - .56 - .57 - .58) HMAS Vendetta .59) HMAS Cowra .60) - photographs, ran, hmas

This memorial card follows a style that was commonly used in the 1890s. The size of the card make it useful for presentation and handing out. There was a remarkably large production of memorial and funeral cards in Australia during the latter 19th and early 20th centuries and the style did not change (and many of the styles are still in effect today). Many of the card companies, in this case ‘The Memorial Card Co.,’ located at 143 King St, Sydney, published standardised plates which had areas for customisation. The card has the area for name, photograph, date of death and age. Poetry was often standardised, but could be requested at the behest of the person who commissioned the card Isabella Battley (nee Goad) was born in 1867, in Smythesdale, Victoria, Australia. She was married to James E. Battley when she died aged 45. James E. Battley was a director of the butter Factory in Orbost in 1915. Their son Ernest Albert Battley enlisted in the AIF from Orbost in 1916. His father is listed as Next of Kin and his mother as deceased. James was remarried to Eda May Battley (born Sargent) in 1914. He passed away in 1925, at age 57 Memorial cards are often treasured for a long time, and often become part of family history. The Battley family was an earlyn Orbost family.A black memorial card printed in memory of Isabella Battley. It has gold printed writing, a gold etched border and wreath. There is a photo of Isabella Battley and a memorial poem.memorial battley mourning

In the early years of the 20th century adequate technical education was lacking and became a focus in the Victorian Parliament. After much debate and discussion among politicians and educationalists, the 1910 Education Act No 2301 was passed, making possible the establishment of new technical schools to address the dearth of skilled trades people. In July 1912 Collingwood Technical School opened in the modified bluestone buildings at 35 Johnston St, originally built in 1853 as the Collingwood Town Hall and Court House. Within three weeks, there were 57 boys enrolled - studying preliminary carpentry and pattern-making, plumbing, engineering, sheet iron work and bricklaying. They attended two hours a night on three evenings a week. In 1913, the school opened its doors to juniors and took residence in new permanent buildings erected on the site. It was classified as a trades school by the State Education Department. Two years later courses in electrical wiring and electrical and mechanical engineering were introduced. In 1988 Preston College of TAFE and Collingwood College of TAFE merged to become Northern Metropolitan Institute of TAFE (NMIT). (http://victoriancollections.net.au/organisations/northern-melbourne-institute-of-tafe)Brown soft covered booklet of 40 pages. The contents include information relating to the Collingwood Technical School on 1913, including: Council members, constitution, standing orders, aim of the school, scholarships, advice to parents, Railway Fares, tram fares, General Rules to Students, Syllabus, English, Geography, Civics, Mathematics, Elementary Science, Woodwork, |Sheetmetalwork, evening course, carpentry, plumbing, joinery, and a list of students for 1912 Evening courses. collingwood technical school, collingwood, tafe, nmit, northern metropolitan institute of tafe

In the early years of the 20th century adequate technical education was lacking and became a focus in the Victorian Parliament. After much debate and discussion among politicians and educationalists, the 1910 Education Act No 2301 was passed, making possible the establishment of new technical schools to address the dearth of skilled trades people. In July 1912 Collingwood Technical School opened in the modified bluestone buildings at 35 Johnston St, originally built in 1853 as the Collingwood Town Hall and Court House. Within three weeks, there were 57 boys enrolled - studying preliminary carpentry and pattern-making, plumbing, engineering, sheet iron work and bricklaying. They attended two hours a night on three evenings a week. In 1913, the school opened its doors to juniors and took residence in new permanent buildings erected on the site. It was classified as a trades school by the State Education Department. Two years later courses in electrical wiring and electrical and mechanical engineering were introduced. In 1988 Preston College of TAFE and Collingwood College of TAFE merged to become Northern Metropolitan Institute of TAFE (NMIT). (http://victoriancollections.net.au/organisations/northern-melbourne-institute-of-tafe)Red soft covered book of 60 pages. Contents include: List of President, Council and staff, constitution, aim of the school, scholarships, evening classes, advice to parents, Railway fares, tram fares, free travel, general rules for students. syllabus of work, evening work. Images include carpentry class, Bricklaying, plastering and Turning & Fitting classcollingwood technical school, collingwood, tafe, nmit, northern metropolitan institute of tafe, carpentry, bricklaying, plastering, turning and fitting

Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, alun leach-jones, leach-jones, printmaking, screenprint

Alun LEACH-JONES (1937 - 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed screenprint.art, artwork, printmaking, alun leach-jones, abstract colour, south australian school of art

Alun LEACH-JONES (1937-24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Pastel drawing on Stonehenge paper. Donated through the Australian Government's Cultural Gifts Program by David Thomas and Brenda Martin, 2011Signed verso lower left 'A. Leach-Jones'art, artwork, leach-jones, alun leach-jones, cultural gifts program, new abstraction, the field

Alun LEACH-JONES (1937- 24 December 2017) Born Maghull, Lancashire, United Kingdom Arrived Australia 1960 Alun Leach-Jones is recognised as one of Australia's leading abstract colour painters. He spent his childhood in the Welsh village of Glasfryn, Denbighshire. At the age of 14 he started a three year apprenticeship with the Solicitors Law Society, Liverpool illuminating manuscripts and hand copying legal documents. While working with the law society Leach-Jones studied painting and drawing in the evenings at the Liverpool College of Art between the years 1955-57. He immigrated to Australia in 1960, settling in Adelaide and attending the South Australian School of Art, after which he travelled and exhibited throughout Australia and abroad. In 1966 Leach-Jones celebrated Noumenon series was shown with Australian Galleries in Melbourne and he was immediately recognised as being part of what was then labelled as ‘the New Abstraction’ in Australian art. Later in 1968 his work was included in the influential exhibition "The Field" held at the National Gallery of Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Purchased by the Council of State College of Victoria, Ballarat, 1974art, artwork, leach-jones, alun leach-jones, abstract

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat