Yields information about the SEC's provision of awards to employees for 12 months of safety and has a strong association with the person that the award was granted to.Two piece butter dish - nickel plated silver tray with an "Electricity Supply Department" badge glued to the dish with the SEC logo and words "Safety Award" and a glass dish - fluted that acts as a butter or jam dish. Awarded to SEC Ballarat driver Allan Jeffries. Stamped on rear of dish "Cambridge A1 Quality". See also Reg Item 4301 for another example.tramways, trams, awards, safety, sec, crews, motormen

Framed page from unknown magazine. Reproduction of lithograph depicting match at Wimbledon in 1881 between Herbert Lawford & William Renshaw. Caption states" THE LAWN TENNIS CHAMPIONSHIP MEETING AT WIMBLEDON - THE FIFTH ROUND OF THE ALL COMERS' MATCH'. Artist's name appears in lower right corner: 'ARTHUR HOPKINS '81'. Materials: Ink, Paper, Wood, Cardboard, Metal, Glasstennis

A colour lithographic print of a female in full period tennis gear, holding a tennis racquet on her lap, and seated upon an umpire's chair. Inscription across bottom of image, in German: EWALD THIEL: PREISRICHTERIN BEIM LAWN-TENNIS (trans. Ewald Thiel: [Female] Lawn Tennis Umpire). Materials: Paper, Ink, Wood, Paint, Paper, Metal, Cardboard, Glasstennis

Two pages from Harper's Weekly magazine (pp. 873 & 874), unknown issue. The pages feature a section entitled: 'AMATEUR SPORT', including images (from photographs) of seven leading players, and two American championship trophies; and including a results tree from the 1893 Championships at Newport. Materials: Ink, Paper, Cardboard, Wood, Metal, Adhesive label, Glasstennis

A colour lithographic print of two men and two women relaxing and having refreshments under a tree, after playing a game of tennis. The racquets and balls lie idle on the empty court in the background, and are being watched over by a dog. Beneath the image is a printed, tennis-themed poem, entitled 'Love's Idelness'. Materials: Paper, Ink, Wood, Paint, Paper, Metal, Cardboard, Glasstennis

Page featuring print (reproduction) with two panels: upper panel depicts musicians and men with sporting equipment; lower panel depicts women in Elizabethan costume. Title caption states: 'EUROPA XVI-XVII TH CENT'Y...EUROPA XVIE-XVIIE SIECLE...EUROPA XVI-XVII'TES JAH RT'. UV glass. Materials: Paper, Ink, Cardboard, Wood, Metaltennis

A small faded black hardcover Holy Bible and References printed in gold lettering on the front cover and Holy Bible printed on the spine. It has an embossed patterned on both covers and broken brass hinges on the right side. The pages have gilt edges. 768p. The print is extremely tiny, suggesting that it was used with a magnifying glass when read. It contains the Old and New Testament.non-fictionA Holy Bible containing the Old and New Testaments: Appointed to be read in churches.religious books, bibles

During the Victorian goldrushes of the 1850s thousands of Chinese migrants arrived to seek their fortunes. At that time many came to the lucrative gold fields of Northeast Victoria. After the Gold rush, many Chinese migrants returned home. However, a number settled in the area as merchants, hawkers and market gardeners in surrounding towns including Wodonga, the Ovens, King, Buffalo River and Kiewa Valleys. They also rented lands and established themselves in the hops and tobacco farming industries. Items of Chinese origin made their way into many households. Importation of Chinese mass produced items such as this lantern continued well into the 20th century and were common domestic items across Australia before households were connected to electricity.This item is representation of kerosene / paraffin lamps used throughout Australia to provide lighting inside and outdoors prior to the widespread availability of electricity.A small hurricane lamp with a rounded tank and small carry handle attached to the top. A larger handle is also attached at the top of the frame. It has a lever to open the glass tank. It has a metal base which is filled with kerosene. It has a screw knob to open the kerosene receptacle. The metal hood also has vents. The Chinese characters around the base translate to "Shanghai Guanghuaheng".Around base : Chinese characters. On top : "Made in China KWANG HWA"kerosene lamp, domestic appliances, chinese artefacts

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Screenprint depicting a panoramic view of Portland Harbour and coastline in lower half. Top half of work features five enlarged sea creatures on a yellow background. The creatures are (from left to right): two seahorses; a side view of a fish; a bug; and a front view of a fish. Mounted on yellow matt with purple highlight and sage edging. Wooden and gold frame with glass glazingFront: Portland Pier 30/70 (lower left) A Gee 83 (lower right) (pencil)femal artists, female artist, angela gee, portland screenprint, portland bay press, 150 years, 150th anniversary, 1984

Private Bertie Ernest Alfred Henderson served in the 5th Pioneer Battalion, 5th Division of the AIF. He died of wounds In France on 29/5/1918 or 1/6/1918. His burial place is Crouy British Cemetery, Crouy-sur-Somme. The framed 'In Memoriam' has been in the custody of family members until presented to W&DHS in 2013 by Mrs Beris Porter. Pte BEA Henderson, 1866, 3 Pioneer Battalion(2 Reinforcement Group) was a farmer and single. His father was Mr HH Henderson of Naringal. He enlisted on 27/5/1916 then sailed on the Themistocles on 28/7/1916 and transferred to the 5 Pioneer Battalion. His name is recorded on the War Memorial, Artillery Crescent, Warrnambool as having made the supreme sacrifice.Mass produced Memorial page with a sepia original half portrait photograph of a soldier surrounded with two mounts,narrow white and dark/grey brown, and a thin gold gilt surround next to an inward angled plain, wooden frame with clear glass. Hand white painted name, rank, number, battalion, division with decorative flourishes. A. tarnished plaque is on the mid lower frame Front- White hand painted dedication: 1866/PRIVATE B.E.A. HENDERSON/5th Pioneer Batt 5Division/A.I.F. The mass produced decorative mount has battle place names and a bird's eye view of battlefields in France. In sepia 'Glory' stand atop a rock and cross with a laurel wreath in her right hand and a scroll with ANZACS falling from her left hand. A verse is written Anzacs, you've graved your name upon Immortal Scroll/Naught can compare with what the World a claims/Zenith of a fighting patriotic soul./A host of heroes, you have but echoed back with Clarion tongue/the Spartan Sires from who you fitly sprung Coo-ee! Comrades, 'Kia-Ora' you didn't ant couch will ever be./Sacred to all Eternity. An oval cut-out holds a half portrait of the soldier in uniform. Plaque on lower wooden frame FRANCE/29.5.18 Reverse- in pencil handwriting: ? o/c/... ... A. Henderson/of ...T/Yar..galin memoriam, wwi, 5th pioneer battalion, 5th division, aif, private bea henderson, warrnambool, anzac

Nancy Malseed was born in Victoria in 1913. She was a printmaker and artist.Three separate images of birds. Top image is six large abstract birds with 12 birds in background (upper centre). Centre panel contains 3 birds in flight, brown against a grey background. Lower panel contains 3 walking birds, black and white against a brown background. Mounted in a dark green matt, in a black wooden frame with glass glazing.Front: 3/20 Etching and roll-up (lower left) "Bird Trip (centre) N. M. Malseed (lower right) (pencil) Back: (no inscriptions)female artist, female artists, women, malseed, 1970s

Watercolour, front view of Town Hall, Portland, off-white mount, black matte wooden frame, reflective glass, silver hanging wire on back. A bluestone building with four chimneys. Centre building with one smaller wing either side. Red/brown front door. Two long windows either side. Each wing also has a smaller window.Front: 'K.J. 27.1.48' - hand written, black ink, bottom left hand corner of painting 'TOWN HALL PORTLAND 1863' - hand written, black ink, bottom centre of painting Back: Black stamp centre. 'K.W.D, Jack P/L P.O. BOX 1, Doreen, Vic, 3754portland town hall, kenneth jack

A Trove search records a fatal mining accident that occurred in Eaglehawk on 27th January 1895 concerning 23 year old William Schofield who was the support of a widowed mother and it can be assumed this is the son of the Mrs. Schofield mentioned in the letter. 28 Jan 1895 - FATAL MINING ACCIDENT. - Trove (nla.gov.au) The Age Newspaper p.6The item is a condolence letter behind glass in a timber frame. The letter is addressed to Mrs. Schofield from members of the Young Men's Bible Class at the Eaglehawk Wesleyan Sabbath School. The letter is handwritten in a copperplate style and surrounded by a black and white floral watercolour painting by the artist C.G. Darvatt. The frame consists of a gold painted inner timber frame with a decorative outer wooden frame.

Magazine cutting from the May 1974 issue of a Building in Plastics News, full title not shown, with a photo or tram 1041, noting that it has been extensively constructed in FRP (Fibre reinforced Plastic or fibre glass) supplied by General Plastics Pty ltd from a custom formulated resin. Two copies held. See Reg Item No. 3660 for actual image.trams, tramways, 1041, tramcar bodies, tramcar construction, tram 1041

Laminated drawing of entrance hall to Fortuna Villa. Drawing is hand coloured and depicts stone building, entrance steps leading to double glass doors with side lights beside and above doors. Turret on top of building. On bottom of drawing is written 'Elevation' on top of plan Proposed Entrance Hall Fortuna Villa for G. Lansell Esq. Signed by W. Beebe, Architect.bendigo, buildings, fortuna villa

Refer Cat No 2351.5P David James HAMILTON, 329 14th BTN, WIA twice KIA 7.6.1917, 12th M.G.Coy, Buried Strand, Military Cemetery, Ploegstreet, Belgium Collection of three items framed. Photograph- copy of black and white photograph- half portrait of a soldier in uniform Commemorative scroll- original scroll, printed in black and red ink, with colour to coat of arms. Coat of Arms of King George V on paper Frame- brown colour stain timber with decorative moulding. Dark green cardboard mount, glass front, cardboard back.photographs, frame, accessories, documents, certificate

This gas anaesthesia machine comprises a four yolk manifold, two circular metal components for nitrous oxide and two for oxygen. It is mounted atop a four pointed stand on casters for portability. In addition to reducing valves and regulators, the main stand also supports a cream-coloured, cylindrical Austox fractional rebreather and an ether vaporiser with variable bypass control within a circular glass container. portable, anaesthesia, midwifery, dentistry, obstetrics, oxygen, nitrous oxide, commonwealth industrial gases ltd, cig, austox fractional rebreather, ether vaporiser, variable bypass control, 1950

Louise Hearman used the Norla Dome and painted a mural which had taken her around a year to complete. The exhibition called Elephant Room was shown from May 1988. The work was vandalised in June 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white flyer with dual lengthways ribbings on the back side, possibly indicative of an intent to fold the flyer in three.The Elephant Room You are invited into the dome at the “Mission to Seamen” building, no. 717 Flinders St (ext), painted by Louise Hearman. Opening night Thurs May 28th 6 pm - 9 pm Visiting hours 11am -6 pm Tues to Sun from May 29th to June 11th Or by appointment ph (03) 328 1400 a.h. Sponsored by: Australian Council, Crown Hire, Art Stretchers Oliver-Davey Glass and Box Archer Emery.cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne

GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport

These cycling medals were awarded to W. S. Toyne. Two of these medals are time medallions relating to the Warrnambool to Melbourne Cycle Race. This race was first held in 1895 and continues to the present day. It was originally a handicap race from Warrnambool to Melbourne but after 1938 it became a Melbourne to Warrnambool race. After 1995 it became a scratch race and today the distance is shorter with the race starting from Avalon. It is the second oldest one-day cycling race in the world and the longest one-day cycling race in Australia. All riders who complete the race in a given time are awarded a Time Medallion. The race was sponsored by the Dunlop company from 1901 to 1927. In 1923, 123 of the 196 riders, who started at 5:30am completed the 165 mile road race and were awarded the time medallion. W. S. Toyne was listed among the some of the first cyclists to go through Camperdown at 8:16am. It was reported that over 50,000 spectators witnessed the progress of the race. These cycling medals belonged to a cyclist, W. S. Toyne, who completed in a significant sporting event in Warrnambool in 1923 and 1924. [.1] Round metal and enamel medal with blue enamel edge and an unidentified white coat of arms with a red cross containing five stars on the obverse side. The shield is held by an embossed kangaroo on the left and an emu on the right. The reverse is inscribed with name and time in an inner circle and the year and race on the outer edge. [.2] Round metal and enamel medal with blue enamel edge and a white enamel shield containing five stars in the centre of the obverse side. The reverse is inscribed with the name and time in the inner circle and the race name on the outer edge. [.3] metal and enamel medal with a blue enamel circle with white enamel boomerangs sitting above and below.[.1] Obverse: Dunlop Road Race; Reverse: Warrnambool-Melbourne Time Medallion 1924 Won by W. S. Toyne 5 Hrs. 47 Mns. 42 Sds. [.2] Obverse: Dunlop Road Race 1923; Reverse: Warrnambool-Melbourne Time Medallion; Won by W. S. TOYNE 10 Hrs. 30 Mns. Sds. [.3] Obverse: Barnet Glass Ballarat-Melbourne Road Race 1923; Reverse W. S. Toynew. s. toyne, dunlop road race, barnet glass road race, ballarat to melbourne cycle race, time medallions, warrnambool to melbourne cycle race

This First Aid Case was used which was used at the the former Carnegie Senior Citizens' Centre. The centre was located at 314 Neerim Road, Carnegie. When the Neerim Road facility closed, its activities were moved to the Carnegie Library and Community Centre. Cream metal first aid case. Case is hinged on the long side, and has a handle and latch on the side opposite the hinge. Blue, gold, red and cream "Sanax First Aid Ambulance Case" label on lid featuring cross icon and flaming torch icon. Cream enamel paint has been painted over the exterior of the case, minor areas of overlap on label. Interior of case is split into three sections. Two narrow brackets on interior of lid to hold pen sized items. One rectangular bracket on interior of lid to hold paper or card. Two round mounting brackets on top edge of case. Contents include five glass medicine bottles, plastic tablet container, metal tweezers, two pairs medical scissors, glass eye dropper, brass thumbtacks, cardboard instruction booklet, rubber tourniquet. "Sanax" TRADE MARK / FIRST AID / AMBULANCE / CASE

The Melbourne District Nursing Society After-Care Home was extended and the name changed from 'Home' to 'Hospital' in 1934. This is a sketch of the Administrative building and shows the style of Hospital Architecture of the 1930sThe Melbourne District Nursing Society, (MDNS), built the After-Care Home in 1926. The Home was extended and the name changed to Melbourne District Nursing Society and After-Care Hospital in 1934. It was situated at 45 Victoria Parade, Collingwood. Patients of the Society who needed more care than could be given at home, but did not need hospitalization, were nursed there along with many patients from Melbourne hospitals who needed further care before going home. Many children were nursed in the hospital, some long term, during the Polio epidemic and schooling was given to them in the hospital. In September 1930 an Ante-Natal Clinic was established. In October 1934 a Women's Welfare Clinic was opened to educate women on birth control. This was the first of its kind in Melbourne. The After Care Hospital was under the Society's banner until 1956. In 1957 the MDNS and the After-Care separated with the Government taking over the running of the After-Care Hospital. Melbourne District Nursing Society then became the Melbourne District Nursing Service, later Royal District Nursing Service (RDNS) after Royal patronage in 1966..A digital image of a sketch of the front view of the After-Care Hospital. It shows a three storey building, and on the left of the ground floor are two large windows, each with a grid of approximately twenty-one small panes of glass; divided with sash bars holding the glass. To the right of this is a double scroll door, then the building divided with five, nine pane long windows along it. There is a column portico in front of the door. The second and third storeys have eleven rows of long small pane windows with the central brick section between the floors having three roundels attached. A flat roof section runs along the the top of the third storey with the words 'After Care Hospital' written in black capital letters in the centre. Above this central section is some balustrade with finials either end. To the right of this building; part of a two storey building with the same style windows can be seen. mdns, melbourne district nursing society, after- care hospital, after-care home, melbourne district nursing service

Property - Ford Street, Beechworth - Section 2, Town Allotment 6 - (Note: also 2-6-1 Electrical Contractors, 2-6-2 Lodge and 2-6-3 Beechworth Dairy) - 100' x250' Ownership details and history - 28 Oct 1853 - W.H. Neuber 1861 - Galbraith, Andrew - Faulkner George, unlisted, J.S. Clark. land 22'x165', shop 32'x20' glass + deal fr. 2 stories, WB + sh. Bakery 25'x20' slabs + bark. Stable 20'x10' WB + do. 1861 - Steel, William, unlisted, J. Manson. land 11'x140' shop 10'x33' plate glass & cedar front, slabs + sh. Back 10'6"x34' WB + sh. 1861 - Joel, Abraham, unlisted, J. Manson, land 11'x140' shop 10'x33' plate glass + cedar front, slabs + sh. bark, 10'6"x34' WB + do. 1861 - J. Manson, unlisted, same, land 22'x25' (in rear) stable 14'x14' slabs + bark 1861 - George Gammon, unlisted, same, land 22'x165' shop 14'x31' glazed front. deal + WB slabs + sh. Kitchen 15'x12' store in rear 20'x10' do + bark 1863/4 - Eveleigh, J.L. (A. Galbraith in '63-'63) J.S. Clark land + prem as 1861. 1863/4 - Hall, Algernon, J. Manson. land + prem as 1861 1863/4 - Faulkner, baker & confectioner, J. Manson, land + prem as 1861 1863/4 - Manson, John as 1861 1863/4 - Gammon as 1861, Kitchen 15'x12' bk. resid. 24'x12' 1866 - Raphael, Julius, Tobias, Sally, tobacconists, J.S. Clark, land 22'x165 shop 20'x38' bk. bldg. glass fr. + sh. rf. Kitch. in rear 14'x12' WB = sh. Do. Stable 20'x10' slabs + bark. £115 1866 - Cunningham, James & Robert, ironmongers, John Manson, land 22'x165' shop 20'x33' plate glass + cedar fr. slabs + sh. rf. prem in rear 21'x34' WB + sh. rf. £110 1866 - Gammon, George, Druggist, same. land 22'x165' prem. 30'x20' + 24'x12' bk. bldg. 2 stories with plate glass + cedar shop front + sh. rf. Kitchen 15'x12' WB + sh. rf. 1871 - Brown, John, Barber etc. J.S. Clark. land + prem as 1866 £75 1871 - Cunningham, J&R, ironmongers, same. land + prem as 1866 + stable 13'x8' slabs + bark £96 1871 - Gammon, G. Druggist, same land + prem as 1866 £144 1876 - Walton, Wm. Tailor, Mary Clark. prem as 1866 exc. kitch 16'x12' + 20'x10' 1876 - Cunningham, J&R, ironmongers, same land 22'x165' prem 20'x30' deal fr. bk walls sh. roof Do. in rear 34'x21. WB + sh. rf. stable 20'x20' WB + ir. rf. £90 1876 - Gammon, George, Chemist, same land + prem as 1866 exc. no. 24'x12' bk £120 1884 - Armstrong, John, Draper, Mary Clark. shop 1884 - Cunningham Js. Ironmonger, same shop 1884 - Gammon, G. Chemist, same, shop + dwelling 1889 - Armstrong, as above £45 1889 - Cunningham, JS. as above. Cunningham, J&R, shop, prem + land £70 1889 - Gammon, G. Chemist, smae shop, dwelling pr. l. £80 1899-1900 - Armstrong. One shop owned, other ....? one 1900-1901 - Armstrong. double shop 1900 - Armstrong, John, draper, same shop + store £110 1900 - Bowen, Wm Johnston, Chemist, Kate Gammon, Sh. DW + L £65 1906 - Armstrong, Draper, same S+L £110 1906 - Bowen, Wm. Johnston, Chemist, Kate Gammon, shop, prem + land £65 Sect. 2, Town Allot. 6 - Note: 2-6-1 Electrical Contractors, 2-6-2 Lodge and 2-6-3 Beechworth Dairy Architectural Index Card - Brian Pump and Tony Dugan - Photographers beechworth, george tibbits

This is a product that was sold in the general store of Cramond and Dickson in Warrnambool early in the 20th century and produced for this store at the time. It may also have been given to customers as an advertising feature. John Glass Cramond and James Dickson established a drapery store in Warrnambool in 1855, firstly in Timor Street and then in Liebig Street. It specialized in men’s and women’s clothing and drapery and had a tailoring and millinery business. The store opened branches in several towns in the vicinity of Warrnambool, including Port Fairy. It also opened a branch store in London, enabling it to import materials and other items direct from London. The Cramond and Dickson store in Warrnambool closed in 1973. This mitt is of considerable interest as it is a sample of the wares and advertising articles coming from the general store of Cramond and Dickson of Warrnambool. This store was of great importance in Warrnambool as a dominant business in the town/city for over 100 years. This is a rectangular-shaped oven mitt with light brown leather on one side and a green-coloured felt-like material with a fluted edge on the other side. The mitt has machine stitching diagonally across both sides and machine stitching around the edges. A leather looped tag is attached at one corner so that the mitt can be hung up. The reddish-brown printing on the leather side of the mitt is stamped into the leather. The leather side is a little stained. ‘Cramond & Dickson. Warrnambool, Port Fairy & London’ cramond & dickson stores, warrnambool, port fairy, london, history of warrnambool, john glass cramond, james dickson

This plaque was erected in the Williamstown Sailors' Rest, the former skating ring in Thompson Street. It's one the three memorials to Ethel Godfrey with the stained glass window in the St Peter chapel in the Central Institute (See 0064.2) ) and the optus sectile plaque in the 1888 Port Melbourne Institute (See 2053) . This plaque was moved to the Nelson Place building when the Mission purchased the E,S&A Bank in 1943. In 1982, the plaque ws removed from the Williamstown mission along with 4 other plaques, objects and furniture to furnish the chapel of the new Flagstaff Maritime Museum. The transfer of the 5 plaques was requested in 2020 and they returned to the Mission's collection in 2022.The plaque along with the two other memoriels erected in the memory of Ethel Godfrey demonstrates the gratitude for the her 30 years of work.Rectangular plaque for Ethel Augusta Godfrey ethel augusta godfrey 1861-1935, williamstown, thompson street, seamen's mission, sailors' rest, flasgstaff maritime museum, lhlg

A GLOBAL PERSPECTIVE Before the increase of air transport, everything that arrived or departed from Australia did so via the ports and wharves. The Mission to Seafarersis not a Victorian initiative, but rather a global network that currently operates in over 260 ports worldwide, assisting over 1.3 million seafaring men and women each year. The importance of the Mission’s role is demonstrated in the Chaplain’s Report 1947, which notes that ships and their crews are: “...inextricably linked with the well-being of Australian industrial and economic life... This, in turn, means that you cannot escape some share in responsibility for their welfare.” This window, titled ‘Noli Me Tangere’, was installed in memoriam of Moira Oliver, the wife of the Reverend Frank Oliver, chaplain at the Mission 1930-60, and whose dedication in life and service to the welfare of seafarers was inspirational to many.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Moira Bird Oliver, wife of Padre Oliver , a photograph of Padre Oliver listing a ship and a photograph of sailors playing tug-of-war during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Mission to Seafarers' chaplain Frank L Oliver, visiting a ship whilst in port, c1950s BELOW: The crew of the motor ship Nyhaugin a tug-of-war with the crew of the SS Madgeburg at the 1926 Boxing Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, moira bird oliver, moira bird oliver (nee good), padre frank leslie oliver, picnic, tug-of-war, flinders street, catherine mclay, arthouse

This type of "stone" jar drinking container was used before glass and later plastic material made it "out of date" as a drink container. The qualities of the glazed pottery (stone) drinking containers made from this natural thermal insulation material was to contain the liquid to a prescribed temperature either hot or cold, as required. This was particularly important in rural environments that lacked adequate refrigeration means. The rural regions where the last areas in Australia where this type of drinking container remained in use. The late 1960's saw a revival of the basic rural ethos by the "hippie" culture of going to basic survival non "commercial" living.This particular stone jar drinking container was also a method of advertising for a Wodonga Stone masonry manufacturer. It is both relevant and significant to the Kiewa Valley because it highlights the type of industry that has breached the evolutionary trend for cheaper "throw away" drinking containers. Although this particular type of container is limited to quality liquids and it is still available in most rural sectors of the Australian "bush" environment.This stone/earthenware jar has a lip 250mm in length and 150mm thick. This lip will allow the thumb and forefinger to be used to grip the container for either pouring its contents out or securing it for any movement. The external glazed surface may become slippery when wet. The jar is heavy even when empty and would be too heavy for small children to carry. By using a cork seal the jar can be reused and therefore become more economical for the longer term. The thickness of the vessel provides a good insulation for the liquid contained. Most of this type of container would have contained ginger beer.Within two elliptical circles are painted (in freehand) "S. MASON" in the top half and "WODONGA" in the bottom half.These are separated by an asterisk on both sides. A large "S" overlaid by a similarly large "M" is within the inner circle. Stamped into the jar when still wet during manufacture is "PINNACLE BRAND" in 5mm lettering.drinking container, stone jar, ginger beer container, s. mason, wodonga earthen ware

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. Darryl James Rowe was a qualified instrument repairer. He specialized in Vintage car instruments on dash boards. These would include speedometers, car clocks, ammeters, oil gauges, ignition switches, temperature gauges, glass tube fuel gauges and dials repaired. He was located in Vickers Street Sebastopol. Documents relate to the years 1984 to 1986.Decal designs various sizes for car dash boards. Ledger showing orders from 1984Car makers, guages zilles printers, darryl james rowe, instrument repairer, ballarat, vintage cars, dash boards, decals, speedometers, car clocks, ammeters, oil gauges, ignition switches, temperature gauges, fuel gauges