The Magpie-Lark, also commonly known as a Mudlark, is a carnivorous bird found in many regions of Australia, Indonesia, Timor, and Southern New Guinea. They are a non-migratory species and are extremely adaptable to a variety of environments. These environments include dry forest, savannah, grassland, and even urban areas. Magpie-Larks are typically monogamous and are often found in pairs. They are black and white, with a white underbelly, long legs, and a long, thin beak. The females of this species have a white throat, while the males have a white eyebrow and a black throat. While juveniles have dark eyes, mature adults have light irises. This information helps identify this specimen as an adult male. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Magpie-Lark is a small to medium-sized bird which has distinctive black and white colouring. The bill is long and thin and is a whitish colour which differentiates it to other Magpie species. When mature, like this particular specimen, the Magpie-Lark have distinctive light irises. The glass eyes provided for this specimen are accurate in colour. This male specimen has a white 'eyebrow' marking and a black chest or bib. This Magpie-Lark stands on a wooden mount with a swing tag attached to its leg.Swing-tag: 20a. / Reed Grallina / See catalogue page 10 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, mudlark, magpie-lark

This flip top pocket steel ash tray was at the beginning of the social "cleaning up" of cigarette ash and related products. This cigarette waste container was for those occasions when it was polite not to throw the cigarette ash and used up cigarettes "buts" on the ground, or if working in any rural area during a dry fire prone season, when discarding burning cigarette waste could set up a severe "bush" fire. It was also at the beginning of an intensive look at the affects of smoking upon the health of users. Later in the 1900s was a time when medical evidence supported a ground swell of the anti smoking movement which resulted in further restrictions of the use cigarette smoking in public places. Before the anti cigarette smoking revolution, it was both fashionable and manly to either roll your own cigarette or open up a packet of "tailor made's". In the rural and man's man environment the roll your own provided a visual acknowledgement that the user was "true blue" Aussie male and not a city boy. The cycle of use of cigarettes has drastically changed from when this item was first used. Today's society (post 2000) has produced a ground swell of government and non government organisations whose aim is provide a cigarette "ash" free environment and society. This is highlighted in the beginning of the 2000 millennium by a cigarette "Free" Australia campaign, and the pocket flip top personal ash tray as a practical solution for butt litter disposal.This pocket ash tray not only was used when social graces required it to, but also provided a container for any unfinished cigarettes or stogies (cheap half used cigars). In rural areas (open fresh air countryside), where time was always made available for the "smoko" (Australian rest period), at any time, especially after some hard physical work, the ability to have a self contained ashing apparatus, not to offend the gentler folk, was a pre-requisite . The rural environment, in the days of these cigarette ash containers,was one which could range from harsh and unforgiving to mild and relaxing. Smoking could be enjoyed anywhere and at any time without too much "fussing" around. This ash tray was mobile, convenient, unobtrusive and regarded by the user as being considerate to those around. It also eliminated the tell tale evidence that the "no smoking" signs had been ignored. The Kiewa Valley was like many rural ares that found it hard for smokers to come to grips with a governmental "non smoking policy" to indoor recreational and other "confined space" environments. Tin plated mild steel round container with a lid. The opening lid is spring loaded, hinged top, circular and fixed by a clasp, pop- riveted (4) onto the main housing. Opposite the hinge the lid is held closed by a small metal ball fitting tightly to the top wall of the container. The lid is opened by the use of a fingernail positioned at junction of lid to body. This edge is bevelled to allow access. personal effects, tobacco waste products, smoking accessories

This flip top pocket aluminium ash tray was at the beginning of the social "cleaning up" of cigarette ash and related products. This cigarette waste container was for those occasions when it was polite not to throw the cigarette ash and used up cigarettes "buts" on the ground, or if working in any rural area during a dry fire prone season, when discarding burning cigarette waste could set up a severe "bush" fire. It was also at the beginning of an intensive look at the affects of smoking upon the health of users. Later in the 1900s was a time when medical evidence supported a ground swell of the anti smoking movement which resulted in further restrictions of the use cigarette smoking in public places. Before the anti cigarette smoking revolution, it was both fashionable and manly to either roll your own cigarette or open up a packet of "tailor made's". In the rural and man's man environment the roll your own provided a visual acknowledgement that the user was "true blue" Aussie male and not a city boy. The cycle of use of cigarettes has drastically changed from when this item was first used. Today's society (post 2000) has produced a ground swell of government and non government organisations whose aim is provide a cigarette "ash" free environment and society. This is highlighted in the beginning of the 2000 millennium by a cigarette "Free" Australia campaign, and the pocket flip top personal ash tray as a practical solution for butt litter disposal.This light weight aluminium pocket ash tray not only was used when social graces required it to, but also provided a container for any unfinished cigarettes or stogies (cheap half used cigars). In rural areas (open fresh air countryside), where time was always made available for the "smoko" (Australian rest period), at any time, especially after some hard physical work, the ability to have a self contained ashing apparatus, not to offend the gentler folk, was a pre-requisite . The rural environment, in the days of these cigarette ash containers,was one which could range from harsh and unforgiving to mild and relaxing. Smoking could be enjoyed anywhere and at any time without too much "fussing" around. This ash tray was mobile, convenient, unobtrusive and regarded by the user as being considerate to those around. It also eliminated the tell tale evidence that the "no smoking" signs had been ignored. The Kiewa Valley was like many rural ares that found it hard for smokers to come to grips with a governmental "non smoking policy" to indoor recreational and other "confined space" environments. The covered lid reduces odors and eliminates ashes from being blown around.Aluminium round container with a lid. The opening lid is spring loaded, hinged top, circular and fixed by a clasp, pop- riveted (4) onto the main housing. Opposite the hinge the lid is held closed by a small metal ball fitting tightly to the top wall of the container. The lid is opened by the use of a fingernail positioned at junction of lid to body. This edge is bevelled to allow access.personal effects, tobacco waste products, smoking accessories, tobacco

Written during the 1960s when surfing was burgeoning across Australia’s coast and Phillip Island surf beaches had become extremely popular, few management strategies were in place to control interaction of the public with the delicate flora and fauna of the coastal environments. There were few good access tracks, car parks, bins, toilets etc at coastal/surfing hotspots around the Phillip Island coast. A number of management issues occurred with the influx of surfers. These included dune erosion caused by surfers climbing dunes to see the surf before going on the beach; informal parking on wildlife habitat; numerous access paths from wherever cars were parked down to the beach cutting through habitat; illegal camping on foreshores; illegal lighting of fires on beach and in dunes; surfers’ dogs let out of the car while surfers were out on the water. The dogs were uncontrolled. Certainly some surfers behaved responsibly, as is almost invariably the case these days. However, in that era of this article few people understood the delicate nature of the coastal environment and that it need to be protected through public education, infrastructure and enforcement of regulations. As now, most rural Fire services were run by dedicated volunteers who faced many challenges in their roles as Country Fire Authority firefighters. However, it was not uncommon for visitors and locals to also assist with fire-fighting efforts.The article is significant in containing quotes from both sides of the discussion who were directly involved in coastal fire incidents on Phillip Island in the 1960s. It also indicates the large number of surfers visiting Phillip Island beaches, the volunteer nature of the firefighting service and the extra challenges they faced on Phillip Island as a visitor destination. The anonymous university student surfer who is quoted, also describes possible causes of the fires, methods he and his fellow surfers used to extinguish the fires and raise the alarm, and the way they assisted the volunteer firefighters . The reference to him breaking into one of the Summerland housing estate holiday houses is also significant because that housing estate was purchased over 2 decades by successive Victorian governments to remove management issues caused to the wildlife habitat on Summerland Peninsula.Photocopy of newspaper cuttings including 2 related articles. Five columns of black text on white paper with one poorly reproduced photo bottom rightphillip island, cat bay, country fire authority, artie murdoch, alf towns, frank dixon, barry thompson, newhaven-san remo rural fire brigade, penguin parade, cowrie beach, surfers, coastal fires

Reminiscences of environmental artist Neil Douglas as told to Abbie Heathcote. Kangaroo Island stories, living naturally, bumbling through the Depression, Robinson Crusoe gardening, trials of a conservationist, health and home, artist friends, aninal friends. Illustrated by Neil Douglas and incudes photographs of his home and garden at Bend of Islands.1. Paperback; 140 p. : ill. ; 25 cm. 2. Hardback (missing dust jacket); 140 p. : ill. ; 25 cm.ISBN 095950950xstories, social customs, alternative lifestyles, kangaroo ground, gardening, reminiscences, bend of islands, conservation, neil douglas, abbie heathcote, environment,

A Bendigo 'Advertiser' article with coloured photographs of Bendigo birds and some information pertaining to each of them. 25/5/1969.sciences, general, birds, lydia chancellor collection, collection, bendigo, birds, bendigo birds, environment, wildlife, sciences

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

A box with a picture of trees on the front. It contains cuttings of articles relating to trees taken from 'The Bendigo Advertiser' 1955-1963. It also includes pictures of trees from magazines in the 1960s and a book titled 'Australian Eucalyptus.' The book was compiled by B.G. Mulllins. Published by Horwitz Int.'Australian Eucalyptus. By B.G. Mulllins. Published by Horwitz Intsciences, general, trees, lydia chancellor, collection, trees, environment, heritage, nature, place, sciences

Kurrum Yallock - the Plenty River is Melbourne's third river. It is a defining feature of the region weaving its way through local suburbs and parklands. It is often hidden from general view, emerging at bridges and along its extensive trail network. While diminished since European settlement, the River provides an important environmental, wildlife corridor and recreational resource, along with many links to its settlement heritage. The Kurrum Yallock walks aim to guide people along the River Trail, while providing insight into key aspects of our recent history, an opportunity for reflection and an enhanced enjoyment of the River's special environment and landscape.birrarung, greensborough historical society, kurrum yallock, martins lane, plenty river, yallambie, yarra river

728 Main Road, cnr of Brougham Street, Eltham, May 1988. Former Police House (1859) which at time of photo was the offices of the Shire of Eltham Parks and Environment. This photo was taken prior to the building of the replica Police Station to serve as a lunch room. The origional timber weatherboard building had been relocated around the rear of the residence years earlier but had since been demolished due to termite infestation. Ten years later (1998) the residence was made available by Nillumbik Shire Council for occupation by the Eltham District Historical Society (former Shire of Eltham Historical Society) to be used as their Local History Centre.35mm colour positive transparency (1 of 36) Mount - Kodak KodachromeProcess Date MAY 88Meltham, infrastructure, main road, brougham steet, eltham justice precinct, local history centre, parks and environment, police residence, shire of eltham

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

This item(razor) was used by men, only before fashion dictated that women should shave their legs and underarms. There is information that this razor was first used circa 1922 and it lasted up until circa 1958. It permitted the user to have a compact shaving apparatus at hand in any environment. It provided a safe and easy way of sharpening the more permanent blade. This type of razor replaced the straight, open, or cut-throat razors. The mobility of this item was further enhanced by Gillette with their double bladed disposable razor. Time taken(shaving) and costs involved where crucial factors in the ever growing pace of domestic lifestyle in the post 1920s.This historical item presents that, even though the Kiewa Region was an inland rural settlement which in the 1920's was not as close to "modern" fashions and "gadgets", the basic living conditions where still maintained at city levels. This particular razor was in its heyday a sophisticated safety razor and brought down the demand for the services of the "professional" barber(shaver). One of the problems of the superseded straight razor was the high levels of cuts and nicks to the face. As this particular razor was fairly expensive it would have been used by men who were in the middle to upper socio-economical position in Kiewa Valley before the late 1950'sThis item is a Sheffield steel(stamped inside) metal box(Viscount model) containing a red leather fine shaving strap and in its lid a grey honing stone. Both bottom and top lids are removable to allow for replacements of strap and stone. On the bottom lid appears "The Whetter" trade mark, registered in the U.S.A. in 1950.Three bands of a Greek key pattern has been pressed on the lid. A circled identification inscription. " ROLLS RAZOR Ltd, MADE IN ENGLAND" and patented information appears within this inscription. "Patented in England and Abroad. English patents numbers 467383. 284428. 242718. 242717" On the outside of the base lid within a circle are "ROLLS RAZOR" and the sketch of a long haired naked man (side view), crouched, with both hands stretched forward operating the razor. On a slab underneath are the words "The Whetter"safety razor, non disposable, men's shaving implement

Station Sign - Railway General By-Laws Poster Since the very early days, Railways have had to have rules for those who travel and those who work on the trains. Some of the rules may refer to social practices of the time, the comfort of passengers or to the safety required in the Railway environment. The Victorian Railways referred to these rules as By-Laws. Not only were there rules, but there may be a fixed penalty (fines) for those who may break them. Being a government body the Victorian Railways had the rules and appropriate action authorised. This poster was issued in 1968 and was one of many that were displayed at most Victorian railway stations. Historic - Victorian Railways - notice board with General By-Laws PosterStation Sign - Railway By-Laws Poster wooden rectangle Station notice board with Railway By-Laws PosterGeneral By-Laws station sign, puffing billy, railway by-laws poster, victorian railways

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Charles Keefer established this landmark boat hire business in the early twentieth century, shortly after he had built municipal baths at Beaumaris. The original boat shed was damaged in a storm in 1934 and burned down in 1984.Annette Meikle, Keefer's boat shed 1977, ink and watercolour, 33 x 53.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, port phillip bay, coastline, beaumaris, keefer's, keefer's boat shed, jetty, boat shed

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

A cast iron hook was made for lifting heavy loads in a marine or warehouse environment. The hook would be attached to the end of a chain or rope around a heavy load such as a pallet or container. The other end may have been joined to a pulley or crane for lifting and moving it around. The inscription on the hook shows the SWL or Safe Working Load as 3 Ton. The SWL was used in the industry for many years to rate safe loads but it is no longer used to identify the maximum capacity of equipment. In 2002 the Australian Standard AS 1418 for Cranes, Hoists and Winches changed, and the term Safe Work Load was changed to Rated Capacity, which was defined differently.The hook represents the equipment needed on a ship or at a port, railyard, transport depot or warehouse in the 19th and 20th centuries to move cargo and loads. The inscription of SWL on the hook is significant for its use as a guide for many years to work out the weight of the load the hook could safely hold. However, time and experience have led to a change in Australian Standards and the load is now measured by another formula that gives the load's Rated Capacity.Hook; large iron hook with a ring formed in the top. Inscription stamped into the metal and indicates that the Safe Working Load (SWL) for the hook to lift is 3 Ton.Marked "ani" "SWL 3TON"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, lifting hook, maritime equipment, lifting equipment, warehousing, cargo, loads, rigging, marine technology, swl, safe working load, 3 ton, rated capacity, load limit

Forty-four page dark red covered report with a red shaded photo/drawing of a young man on a skateboard, titled Storm Sequence (2000) by Shaun Gladwell. In the front of the book is a loose letter mentioning the 2007 annual Report, covering their activities of the Trust for the year. Titles in the book are: About Our Founder and Her Legacy; Trustee's Report; Grants Overview; Grants Approved in 2006-2007, which are Aged Care, Arts, Culture & Heritage; Community Support; Disability Care & Support; Education; Employment & Vocational Training; Environment; and Health; Investments and Grants - An historical perspective, Financial Summary and An Historical Insight: The Smiths in Australia. Most chapters have information.Helen Mcpherson Smith Trust Annual report 2007helen macpherson smith trust annual report 2007, helen macpherson schutt (nee smith), darvell m hutchinson am, j barry hutchins oam, frances h awcock am, keith b smith, anthony baird, darren mcconnell, liz gillies, sarah bartak, pamela beech, lonia catalano, beolite village, bundji bundji, odyssey house victoria, macpherson smith community alliance, brotherhood of st laurence, dolphin research institute, howard florey institute, the jean hailes foundation for women's health, historical insight - the smiths in australia, shaun gladwell

THE CARRON COMPANY The Carron Company established its ironworks on the banks of the River Carron in Falkirk, Stirlingshire, Scotland, in 1759, and became an incorporated company in 1773. The company was the largest ironworks in Europe during the 19th century. It supplied ammunition and armaments, steamboat engines, pig iron, cast iron goods such as flat irons, balustrades, fire grates and bath tubs, pillar boxes and telephone boxes, and even cast iron rings for underground tunnels. In 1982 it became insolvent and was taken over by the Franke Corporation, using the brand Carron Phoenix.This iron is representative of the domestic appliances used throughout Australia up until electricity became widely available for domestic use.An antique Carron iron made of solid cast iron. These types of iron were nicknamed "sad irons" from the Old English where "sad" was originally a word which meant "heavy and solid". Typically, there would be two irons simultaneously in use: one to iron with and one being heated up on the stove or in the fire. This iron has a flat bottom and back and it curves to a point at the front. It has a goose neck handle which has a twist. Irons such as this were often given the name "goose" irons. Near the front of the iron on its top '11' is marked. These irons were used from the late 18th to mid 20th centuries before electricity was widely available in all areas, particularly in rural environments.On top of iron "CARRON"flat irons, domestic appliances

3004.1 - Zone 3 Weekly ticket, No. 10176, printed on card, red front with white diagonal strip "The Met" safety paper in the validity area, with the Available until "14 Apr 1991" stamped in black ink. Has the "The Met" logo on the front, with conditions of use and The Met details on the rear. 3004.2 - Zones 1 & 2 Weekly Concession ticket, No. A62646 , printed on card, yellow and blue front, white diagonal stripe "The Met" safety paper in the validity area, with the Not Valid after "27 Sept 1992" stamp in large black letters. Has the "The Met" logo on the front, with conditions of use and The Met details on the rear along with images of "protecting Melbourne's Environment". Both tickets have "Sandown Park" station stamp on them.trams, tramways, the met, weekly tickets, mta

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living.jim connor collection, edendale community farm, edendale farm, eltham, gastons road

This photograph depicts mining operations within the Beechworth area, in an unidentified valley where sluicing was utilised as a method for extracting gold from the environment. After gold was discovered in the region in 1851, sluicing became a characteristic of gold mining in the region - "Ovens miners carved intricate networks of races" throughout the region - involved the diversion of water in many channels, or water races, which contained inbuilt 'ripple devices' designed to trap gold for later extraction. By 1871, 900 miles of water races had been cut into the Beechworth Mining District. As suggested by the numerous figures involved in labouring along the water race, sluicing was a source of considerable employment within the region. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the 1850s, and provides clues as to how sluicing and the widespread construction of water ranges changed the environment of the region. This image is important for current research into the history of the Ovens region in Victoria, which played such a prominent role in the early Australian gold mining industry. Therefore, this image has the capacity to be beneficial for research into society and the motivations of those living and working in this region during this period and therefore, has social significance. The Beechworth Burke Museum has additional images relating to gold sluicing and and the mining activities in the area more generally, which can be analysed and studied alongside images like this one.A black and white rectangular photograph printed on matte photographic paperbeechworth, mining, miners, labour, water race, sluicing

This photograph was taken of an avenuw of acacias on Sydney Rd, Beechworth. Picture on the left hand-side is a row of Liquidamber trees also known as American storax, hazel pine, bilsted, redgum, satin-walnut, star-leaved gum, alligatorwood, or simply sweetgum. On the right is a row of English Oak trees commonly known as common oak, pedunculate oak, or European oak. Behind the English oaks is Old Beechworth Goal. Many of the trees in the Beechworth township were planted in the 1860's and today have exceptional historical, botanical or cultural value. Their place within the built environment reflects the importance in the Victorian era of town planning for a community, wealthy in gold and civic pride.Black and white rectangular photograph. The image is printed on gloss photographic paper and mounted on cardboard. Obverse: NO INSCRIPTION Reverse: 7760 The old Acacia Avenue alongside the jail. Sydney Road Beechworth Gardens & Parks beechworth, acacia avenue, gaol, sydney road, burke museum, photograph, post card, english oak, liquidambar

The E.J. Tippett Library is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building was opened on 04 July 1986 by Governor of Victoria, His Excellency Dr Davis McCaughey.E.J. Tippett Library on the Ballarat School of Mines library.ballarat school of mines, smb campus library, e.j. tippett library

The E.J. Tippett Library is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building was opened on 04 July 1986 by Governor of Victoria, His Excellency Dr Davis McCaughey.Two colour photographs showing the exterior of the E.J. Tippett Library at Federation University Australia SMB Campus, and two taken from inside the library looking over Ballarat East.e.j. tippett library, tippett library, smb library, tippett, e.j. tippett, ewan jones & associates

The E.J. Tippett Library is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building was opened on 04 July 1986 by Governor of Victoria, His Excellency Dr Davis McCaughey.Photographs of the opening ceremony at the E.J. Tippett Library. e.j. tippett library, library, e.j. tippett, library catalogue cards, ewan jones and associates, smb library, ballarat school of mines

The E.J. Tippett Library is named after the late E.J. Tippett who was a long time President of the Ballarat School of Mines Council, and library advocate. In February 1985, the first sod for the new SMB Campus building was turned by the Minister for Planning and the Environment, the Hon. Evan Walker, M.P. The overall responsibility for the building rested with the Public Works Department in association with the SMB Campus architect, Ewan Jones & Associates and the builder, S. J. Weir Pty. Ltd. They put together the facility that is both functional and of a style that merges with the surrounding architecture. The new building was opened on 04 July 1986 by Governor of Victoria, His Excellency Dr Davis McCaughey.Black and white photo taken from outside the Tippett Building, showing the wood pattern at the entranceballarat school of mines and industries, tippett building, ballarat school of mines, library, buildings, ewan jones and associates, e.j. tippett library, smb library