This underwater SLR camera housing was made to hold a standard SLR camera and keep it watertight for underwater photography up to 300 feet in depth. Ikelite continues to be a leading manufacturer in the underwater photographic industry. The business began in the early 1960s when diver Ike Brigham invented a waterproof seal for his underwater flashlights. The name IKELITE was trademarked in 1962. In the late 1960s, Ike developed camera housing kits that were clear and enabled access to change a roll of film. He was the first to use lid-snap closures on an underwater housing. The history of underwater photography began with the first protective camera box for underwater photography was made in 1856. In 1914 the first underwater video footage was taken. Colour underwater photography was first shot in 1926. In 1950 the first commercially available underwater camera housing, the "Tarzan" was designed by Henry Broussard, an underwater photographer, for his own camera. It was produced by the French company Beauchat. In 1957 the revolutionary underwater camera was invented by Jaques-Yves Cousteau and Jean de Wouters. The new amphibious "Calypso" changed the nature of underwater photography.This underwater camera housing is significant for its purpose of underwater photography. Camera housings such as this were used to record the position and layout of shipwrecks along coast of the Great Ocean Road. Flagstaff Hill Maritime Museum and Village has underwater footage of dives that show the now protected shipwrecks.Underwater camera housing, Ikelite brand SLR camera housing, for up to 300 feet depth. nscriptions embossed on the back. Made in Indianapolis, USA. Embossed "Ikelite SLR camera housing. Made in Indianapolis. Ind. USA. 300Ft"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, underwater camera housing, ikelite, indianapolis, underwater photography, slr camera housing, ike brigham, camera housing kit

Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Ken German David Read Motors Graeme Healy Family Ann French Doug Cross Family Vikki & John Holcombe Family Kaye Ellen Family Jenkins Hand Heather Slorach & Rod Reading Pencker Family Pigeons Ian Bryant Linda Clarke & Hank Woldhuis Philip West Aerial Photos Mrs L Fielding 80th Show 1980 Lindsay Flowers Harrisons Wedding Cake Debbie Martin & Bob McGregor Rene Hall 80th Pool Game 1980 Mrs Coates 100th Ann Watson & Mike Farrell Glenda Smith & Geoff Lewin Nell Stewart & Liam Pickering SAAC 1980 Dadswells Stawell Brass Band Shuttleworth Dogs Helen Grace Cat Tina Walters Queens Scout Peel Family Trudy Harrison Grange Golf Slaughter House Suzanne Gercovitch & Gary Isbel Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography

Negatives from Stawell Photographer. Discarded from Penna Print Ararat. Son contacted and gave approval for Stawell Historical Society to keep them. Only those of a non personal nature scanned. Currie & Pigeon O’Sullivan & Flowers Beryl Voight Cake John Monaghan Ordination photos taken in Stawell Town Hall upstairs. 6128-6 c.1975 Back Row Danny Rathgeber, Andrew Van Diesen, Bernard Rowe, - - - - - Fr Row Phil Monaghan, Shaun Allen, Aaron Dalziel, Liam Pickering, Simon Comitti, Simon Krause - Shaun Ashton. Susan Pyke & Garry Palmer Victree P/L Lynette McMullin Stawell Arts Council Glenorchy Golf Club Team 1981 West Twins Robson & Moller Snow 23/6/81 Maureen Carroll & Ross Nacy Elaine Aisbett & Neil Lamb Jenny Schunann & Greg Randall Robyn Whelan & Robert Hemley Kerryn Taylor & Ian Mitchell Mrs Wlliamsons Cooper Reunion Debbie Morton & James Evans Colour negatives of families, weddings and other. Nineteen Lever Arch Folders Mick Walsh 52 Patrick Street Stawellphotography

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations

Ewan ROSS Ewen Ross grew in the Wimmera and aims to manifest the changing nature of this landscape in his work. This region is affectionately known as the land of the big sky and it is from this viewpoint looking down and across, which inspires his sense of image making. Occasionally he refers to stories that occurred from times past but generally these images reflect the current state of this land. From 1976 to 1978 Ewan Ross undertook a Diploma of Art (Painting) at Ballarat College of Advanced Education (now Federation University. He was awarded a Graduate Diploma of Education in 1982. He was a Curatorial Assistant at the Art Gallery of Ballarat from 1979 to 1981, and taught Art at Horsham Technical School between 1983 and 1985. From 1986-1897 Ewan Ross taught at the Wimmera Institute of TAFE, and was Lecturer in Painting & Printmaking at the University of Ballarat (nor Federation University from 1998-2005. In 2008 Ewan Ross was a finalist in the Fleurieu Biennale Art Prize. 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.art, artwork, ewan ross, wimmera

The Uniting Church (originally the Scots Presbyterian Church) was built 1865-67) and adjacent former Church Hall / Sunday School (built 1938), Yuille Street, Melton. The adjacent former church hall, now kindergarten facility. The Uniting Church and former church hall are historically significant at a Local level (AHC A4). It was built after Melton’s ‘United’ church and school, erected by Protestant denominations in 1857 in an effort to share resources in the pioneering era, was replaced by individual churches in the 1860s. The church became the home of and is expressive of the union of the Methodist and Presbyterian churches, begun in Melton from the early 1970s, and formally concluded by the formation of the Uniting Church of Australia in 1977. The new additions and functions of the church are expressive of the increase in Melton’s population especially in the 1970s, and the changing nature of the parish’s ministry. The church is one of only three remaining nineteenth century churches, and one of only two remaining bluestone churches, in the Shire of Melton. Information from Shire of Melton Heritage Study Stage 2 Volume 6 David Moloney 2007 At the opening of the new extension to the churchlocal identities, churches

The Housing Commission of Victoria (HCV) was established by the Victorian Government in 1938 after a public campaign for housing reform. After 1942 the HCV was responsible for developing regional and outer suburban housing estates where low-income families were located in proximity to expanding population areas and post-war industries. With greater funding and a severe housing shortage, the Commission's activities greatly expanded through the late 1940s into the 1950s. They began to build larger and larger estates of housing in the suburban fringes, as well as country towns The Housing Commission was largely responsible for the development of Wodonga up to 1973 and in 1975 was said to have built one-third of all homes in Wodonga, though many of these were handed to the Army. Criticism of the bureaucratic and undemocratic nature of the Commission and scandals over corruption in relation to housing developments in Melbourne's fringe areas resulted in the disbandment of the HCV and the formation of a Ministry of Housing in 1984. The work of the Housing Commission of Victoria allowed many people in Wodonga to acquire affordable housing and pay it off over time through monthly instalments. This booklet is of local and state significance as it is evidence of the role of the Victorian Government is providing access to affordable housing. It supported the development of Wodonga and the realisation of the "Australian dream" of home ownership.A small receipt book issued by the Housing Commission of Victoria to record payments and receipts for tenants who were purchasing their home through the Housing Commission. Monthly installments allowed people to access and purchase, affordable housing. On the front cover "Housing Commission/VICTORIA/ HOUSE PURCHASER'S/ INSTALMENT/RECEIPTS"housing wodonga, housing commission of victoria, public housing wodonga

This photograph was taken at Wooragee Hall on the Friday 27th February, 2004 as part of an event called Foxy Night Out. This event was about sharing awareness about the impacts of foxes in rural areas and discussing methods to control their populations. There were two mains speakers at this event, the first; Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, and the second; Leanne Wheaton, a nature conservationist. Pictured in this photograph (left -right): Mary Prowse, Leanne Wheaton, Tony Prowse, Ray Henderson. Leanne Wheaton holds a portable electric fence, that is useful in preventing fox attacks on wildlife, including Bush Stone-Curlew nests Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals.This photo is a record of the events that Wooragee Landcare organises in order to raise awareness and educate about environmental conservation issues in the area. It shows practical solutions that have been considered in fox controlLandscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 NNN+ 1 6329 / [PRINTED] (No.6A) / 497 wooragee, wooragee hall, wooragee landcare, wooragee landcare group, fox, foxy, foxy night out, leanne wheaton, mary prowse, tony prowse, ray henderson, wheaton, prowse, henderson, electric fence, portable electric fence, landcare workshop, fox control project

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

This book contains selections of the convict stories written by Price Warung, 1864-1911(real name William Astley). He was a journalist and writer who worked for a great number of newspapers throughout Australia and began an important association with the Sydney ‘Bulletin’ in 1890. In this period he write the powerful works for which he is best known, ‘Convict Days’, a series of four volumes of stories about Australia’s convict system. The major theme of these writings is the sordid nature of the convict system. Astley became heavily involved in the Federation campaign, firstly as the Secretary of the Bathurst Federal League and then as the organizing Secretary of the 1896 Bathurst Convention. This Convention is considered by historians to have given the Federation campaign a new and vigorous vitality. In 1898 Astley wrote most of the official articles publishing the ‘Yes’ case for the Federation referendum. In 1883 Astley was in Warrnambool, working as a journalist for the Warrnambool Standard newspaper and examples of his journalism can be found in the papers of this time. He wrote lengthy reports in a free-flowing and attractive but verbose style. His two articles on the well-known horse stud and hop farm called ‘Bryan O’Lynn’ appeared in the Standard in October 1884. This book is of considerable interest as it was written by Price Warung (William Astley). Not only is he of importance in Australia’ history but also he has his place in Warrnambool’s history as a journalist for the Warrnambool Standard in the 1880s. This is a hard cover book of 206 pages. The cover is grey with pink lettering on the spine. The dust cover is white with a black, white and red sketch of a convict on the front and a black and white photograph of the author and his biography on the back cover. The book contains an Introduction and thirteen stories by Price Warung. The dust cover is a little stained and torn. price warung (william astley), warrnambool standard, history of warrnambool

Part-Time Teachers In Technical and Further Education, Volume Two - Detailed Report on Findings and Recommendations by Gillian Shadwick (Institute of Technical and Adult Teacher Education within the Sydney College of Advanced Education). Published by the Sydney College of Advanced Education and funded by the TAFE Council of the Commonwealth Tertiary Education Commission, June 1986. The steering committee included Greg Woodburne, Dr Rod McDonald, Gary Hilton, Ian Hamilton, Warwick Goodsir, Ray Jolliffe, Sue Hatherley, and Rex Hewitt. The aims of the study were: "1. To provide profile(s) of the part-time TAFE teachers; 2. To determine the extent of the part-time teacher contribution to TAFE's educational provision. 3. To determine the nature of the part-time teacher contribution to TAFE's provision. 4. To identify initial and on-going staff development and teacher-training needs. 5. To describe the superviser: part-time teacher relationship. 6. To identify sources of part-time teacher job satisfaction and job dissatisfaction. 7. To recommend future directions for the contribution of part-time teachers to educational provision within TAFE." These are discussed throughout the report. ISBN 0-86398-035-XBook concerning Part-Time Teachers in Technical and Further Education, a Detailed Report on Findings and Recommendations. 249 Pages. Includes two questionnaires for teachers. Bound with plastic spine, covers made of thicker, textured paper. Sections and appendixes marked with yellow paper.part-time teachers in technical and further education, volume 2, detailed report, gillian shadwick, institute of technical and adult teacher education, 1986, greg woodburne, dr rod mcdonald, gary hilton, ian hamilton, warwick goodsir, ray jolliffe, sue hatherley, rex hewitt, questionnaire, tafe, part-time teachers, teaching

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

This photograph was donated by Mrs Howard whose aunt, Dorothy Christian, attended Lauriston from 1904 to 1908. Lauriston’s very first sports photograph is in 1905, of our students standing with their hockey sticks to mark their participation in the Girls’ Schools’ Hockey Association. Hockey was without doubt the “Queen of Games” at Lauriston during the school’s early decades. The school’s founders Miss Margaret and Miss Lilian Irving were firm believers in the character-building nature of team sports and were instrumental in establishing hockey as a competitive sport for girls in Melbourne. Lauriston’s founders Lilian Irving one of the two sisters who founded Lauriston, saw hockey played in England and brought the game back to Melbourne. Lilian arranged for the first girls inter-school hockey match, between Lauriston and Ruyton in 1903. Her sister Margaret subsequently joined with Mary Morris of Melbourne Girls’ Grammar to establish the Girls’ Schools’ Hockey Association in 1905. The Association organised regular competitions between schools. Hockey dominated Lauriston’s sporting life until well into the 1950s, with regular class, house, inter-school, and staff-student matches. B & W photo 14 x 18.7 cm, mounted on brown card, with inscription in white ink “Lauriston Hockey Eleven 1905”. Underneath the photograph on the mount are names of the players in three rows according to the arrangement in the photograph. The students standing in the back row are N. Stewart’ G. Mogg, D. Elder, M. Elliott (Captain), J. Tuthill, C. McWhae and E. Stewart. The students knelling in the middle row are S. Mitchell (emergency), M. Rigby, and J. Mitchell. The two students sitting at the front are D. Christian and R. Stewart.Lauriston Hockey Eleven - 1905 N. Stewart, G. Mogg, D. Elder, M. Elliot (capt) J. Tuthill C. McWhae E. Stewart S. Mitchell (emer.) M. Rigby J. Mitchell D. Christian R. Stewart

This is a booklet with a cream cover featuring a sketch of a woman waterskiing and blue printing. The pages contain black and white photographs, advertisements, two maps and printed text. There is one fold-out page. The booklet is stapled and bound with glue.non-fictionWarrnambool Tourist Guidewarrnambool tourism, warrnambool progress association

This photograph was taken at Wooragee Hall on the Friday 27th February, 2004 as part of an event called Foxy Night Out. This event was about sharing awareness about the impacts of foxes in rural areas and discussing methods to control their populations. There were two mains speakers at this event, the first; Camille Veselsky, a specialist in fox behaviour who worked for the Hume Rural lands Protection Board on pest animal control, and the second; Leanne Wheaton, a nature conservationist. Pictured in this photograph, background (left -right): Graeme Missen, Bob Stelling, Quentin Mansfield, unknown, unknown; Colin Payne. Foreground (left -right): Tony Prowse; Mary Prowse, Digby Race. Also pictured are two taxidermy goannas on top of the tables which were brought in as an example of reptile species that are vulnerable to fox attacks. Regional areas like Wooragee are susceptible to fox attacks due to the availability of food such as rubbish, scraps, native wildlife and livestock. Foxes can have a huge impact on native wildlife and domestic life as they are known to chew through irrigation systems, dig-up and defecate in gardens, raid rubbish bins and harass other domestic animals. (One paragraph about the significance ie: The photograph is an example of the type of events hosted by Wooragee Landcare to inform the general public about potential risks to private and public property. .....)Landscape coloured photograph printed on gloss paperReverse: WAN NA 0A2A0N0 ANN+ 1 6329 / [PRINTED] (No.5a7) / 496wooragee, wooragee landcare, fox, foxy

The farm buildings that Linda Gallus has studied and painted are on the farmland adjoining the Leura Park properties in Curlewis, on the Bellarine Peninsula. The current owner of the property told Linda that he bought the farm in 1994. He has used it for both sheep and cattle grazing since purchasing the property. When the farmer bought the land all the buildings on the property were painted white for sale, despite the fact they were very old. The shearing shed was in use up until the time of sale but was in a bad state of disrepair. The roof, stumps and floor required replacing. The building was no longer in use after the sale, so the shearing shed gradually fell into further disrepair. The previous owner had also used the property for growing potatoes, crops and livestock, mainly sheep. Linda’s fascination with the property came when she caught a glimpse of the white chimney over the hill driving towards Point Lonsdale, which still stands proud today on the roof of the old shearing shed. The owner kindly allowed her to visit the property over the past few years to capture the buildings using photography and painting. During this time many of the buildings have fallen. Linda calls it The White Farm as there are remnants of that original white paint on the outside of most of the buildings giving it a strange and rather beautiful patina. The structures are wonderful remnants of the history of the Bellarine. Linda first spotted the old shearing shed when she was driving home to Clifton Springs from Geelong. It was the white chimney on the shearing shed that stood out behind the rolling grassy hills. It was intriguing – bright white and still in good condition, unlike the rest of the building. After further investigation Linda got to know the owner of the property and visited it frequently to draw, take photos and paint. There is a variety of lovely old buildings on the property, but it was the shearing shed that held extra fascination for Linda. The most intriguing thing for Linda was that the buildings were all painted white at some stage and now the patina of peeling paint and bleached timber brought a wonderful mood and feeling to the farm. This is what she has tried to capture in this series of 11 paintings. Most of the buildings are falling, so Linda felt an urgency to capture them using acrylic paint on canvas in order to commemorate them forever.Acrylic Paint on Canvas. The images both feature a falling down shearing shed as the central focus. The wood of the shearing shed is a central theme of importance. The old buildings were painted white for sale despite being in a state of structural instability. After time this same painted wood has been left with an interesting complex patina like film on the surface which the artist has taken great care to capture. Image 1 is titled ‘Another gust of Wind’. It shows the exterior of the shearing shed which is in the process of collapsing from the forces of mother nature. In the background of this painting another of the buildings in the ‘White Farm’ complex is visible, in addition to blue skies and overgrown green grasses. Image 2 is titled ‘Green Trough’. It features the interior of the same collapsing shearing shed. The image is painted as though the viewer is peering through a crack of the external wall. Internally a green trough is seen hanging on an internal fence. Unlike everything else in the shearing shed, the trough appears new and in good condition. It provides a strong juxtaposition to the rest of the shearing shed, and the larger surrounding ‘White Farm’ complexbellarine peninsula, the white farm, shearing shed

Set of 6 Kodachrome transparencies taken on 22/5/1971. 1171.1 - Tram 33 at Sebastopol terminus, showing destination of Lydiard St. Nth, with Royal Mail Hotel in the background and three parked cars. Tram has "Twin Lakes" sign on front dash. 1171.2 - as for 1171.1 but taken from other side of tram, has hotel in part of photo. Shows arrangement of tram terminus signs on a pole in the background. 1171.3 - Tram 26 just after arrival at the Lydiard St. terminus, with passengers getting off and driver about to swap ends. Destination has been changed to Sebastopol. Has Lydiard St. shelter in the right edge of the photo. 1171.4 - as for 1171.3 - but with pole turned and looking back along street towards city. Shows the undulating nature of the street. 1171.5 - Tram 26 outbound in Albert St. for Sebastopol, crossing the street near Ophir St. Has a motor cyclist stopped for tram and shows tram stop on the west side of the road. 1171.6 - Tram 26, close up of tram at the Sebastopol terminus with two cars parked along side. Tram has destination of Lydiard St. Nth.1171.1 - "No. 33 at Sebastopol Terminus" and initials "BC" in bottom left hand corner. 1171.2 - "No. 33 at Sebastopol Terminus" and initials "BC" in bottom left hand corner. 1171.3 - "No. 26 at Lydiard St. North terminus" and initials "BC" in bottom left hand corner. 1171.4 - "No. 26 at Lydiard St. North terminus" and initials "BC" in bottom left hand corner. 1171.5 - "No. 26 crossing from left side of Albert St. Sebastopol to right side near Ophir St." and initials "BC" in bottom left hand corner. 1171.6 - No. 26 at Sebastopol Terminus" and initials "BC" in bottom left hand corner. All slides have date stamp of "22 May 1971" in purple ink and Kodak developing date of "Jun 71M7" in red ink. tramways, trams, sebastopol, lydiard st nth, royal mail hotel, tram stops, tram 33, tram 26

Set of 8 mixed SEC tickets found in Ballarat No. 28, No. 2 end north side under old drop window in bulk head by Darren Hutchesson on 28/3/1999. Tickets have been used and have varying degrees of dirt. The image file shows the nature of the damage. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. Mostly SEC pre-decimal tickets with one SEC decimal issue ticket and one bus ticket. All on white paper unless otherwise noted. 4d F? or I? - 994140 - brown ticket with tartan back 5d - ? - 651862 - green ticket with tartan back 6d - E 807367 - blue ticket with tartan back 6d - J 078706 - blue ticket with tartan back 8d - B 207831 - light red ticket with tartan back 8d - A 962074 - light red ticket with tartan back 5c - B299223 - yellow ticket with SEC logo on rear. Bus ticket - strip - 1/1d, issued 7/8/1965, No. 885 and 886 marked "single"trams, tramways, tickets, used tickets, secv, ballarat

David FERRY (1957- ) Born in Blackpool, United Kingdom. David Ferry studied painting at the Camberwell Schools of Art and printmaking at the Slade School of Fine Art in London. He is currently Professor of Printmaking and Book Arts at the Cardiff School of Art, Cardiff Metropolitan University,Wales. He was Former Associate Professor of Fine Art Media, at the Long Island University, New York, USA, and former Head of Printmaking at the Winchester School of Art, UK. David Ferry was awarded a Fellowship of The Royal Society of Arts for his contribution in the foundation of the Curwen Print Study Centre in Cambridge where he became its first Artistic Director in 2003. In 2010 he was made Professor of Printmaking at the Cardiff School of Art and Design, and a full Fellow of the Royal Society of Painter / Printmakers (RE).Framed screenprint which forms part of a series called ‘Cake walking in Scotland’ which was printed 2015/16. It is a Digital Archive print with gold and silver leaf and glitter and varnish. "Upon entering a strange place, the visitor is disorientated. He looks for key markers that can act as signposts to help him find his way. These markers are taken from his past experiences, giving shape to his perceptions.’…’ Ferry was born in the seaside town of Blackpool and educated at London art colleges during the late 1970s at the height of British Punk. These early foundations continue to assert themselves in the mischievous and disruptive nature of his photomontage. He argues that early understandings of oneself, along with the characters and situations one encounters, shape our viewpoint. These act as familiar signposts that enable us to negotiate our understanding of the world. Employing what he refers to as a collage mentality, Ferry collides and layers fragments to explore his subjects.’ Writes Stephen Clarke on David Ferry’s work in ‘The Double Negative’. (htt05 April 2019)ps://www.roeandmoore.com/shop/the-corrie-by-david-ferry/, accessed One of an edition of 12.david ferry, printmaking, artist in residence, screenprint, art, artwork