An unstrung Dunlop prototype, wood-fibreglass composite racquet with oversize head and open throat/split shaft. Only adhesive label, on lower shaft on obverse reads: 361 GRAMS/31.9 CMS. Handle grip is still sealed in plastic wrap-around. Materials: Wood, Plastic, Leather, Glue, Lacquer, Metal, Adhesive tape, Fibreglasstennis

Two Slazenger Phantom Silver Junior, graphite/composite squash racquets (.1-.2), with open throat, and synthetic handle grip which is still sealed in original plastic wrap. Racquets accompanied by vinyl covers. Materials: Graphite, Nylon, Ink, Adhesive tape, Synthetic material, Plastic, Composite Materials, Vinyl, Ink, Plastic, Metaltennis

The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The name ‘Auburn Heights Estate’, was handwritten on the subdivision plan, and included 23 lots in Auburn Road and Wright and View Streets, Hawthorn. Most of the houses built on the lots that were sold still exist. The house built on number 8 View Street is a contemporary exception. The subdivision included an existing home at number 17 View Street.subdivision plans - hawthorn, auburn heights estate

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola in her drawing room at D'Estaville, Barry Street, Kew, holding her pet dog while gazing into the fireplace. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this. Stamp of The Age on reverse.australian artists, d'estaville -- 7 barry street -- kew (vic.), alma figuerola, melbourne artists -- twentieth century

Sepia photograph of a shop building (corner Clyde & Sussex Streets), several men, women and children standing outside, meat hanging on hooks. Horsedrawn delivery cart under verandah. Bennett's Butchery is believed to have been the first shop in Linton, and to have been constructed around 1858. This building still exists in the main street of Linton.w.g. bennett, butchery, butcher shops

Yields information about the appearance of Geelong's Scrubber / track cleaning tram, c1930, early 1940's.Black and White Photograph of Geelong No. 15, Birney tram, showing "Eastern Beach" as the destination and a "Pay as You Enter" sign. Photo taken during the 1940's, before the tram went to Bendigo. Peter Duckett Collection. Dave O'Neil confirmed June 30/2009, tram is at the Chilwell terminus, the house in the view still remains. SeeOn rear, stamped in black ink "Photo supplied from P.W. Duckett Collection, All Rights Reserved, 69 Howitt Rd. Nth Caulfield 3161."trams, tramways, geelong, birney, chilwell, tram 15

Green case with lock at the front and plastic green handle on top with a manufacturer's label stuck on top. Inside the case is divided into three separate section, one containing a clear plastic mask with latex cushioning, the second containing a grey resuscitation bulb and the third containing a smaller clear plastic mask with latex cushioning, still in original packaging.Green manufacturer's label on top of case: THE CIG AIR-VIVA RESUSCITATOR Inside case: Original label 'Operating Instructions'ambu, resuscitator, cig air-viva

Still located on Barkly Street.ballarat east library, barkly street, builiding, public

Metal branding hammers were the most common way to control the sale and movement of hardwood timber produce like logs, railway sleepers, fence posts, and poles from Victorian State forests. Royalty was also paid on this basis. The hammer has a crown stamp on one end with a unique number in the middle (453) which identified its owner, and a crows foot or broad arrow on the other. The broad arrow was a symbol traditionally used in Britain and its colonies to mark government property. Forest regulations state that an authorised officer may use the crown mark to identify produce which has been sold and may be removed from the forest, whereas the broad arrow can be used to brand and mark trees which are not to be felled, or to indicate forest produce which has been seized. Hammers were traditionally only ever issued to forest officers and were an important, and closely guarded tool-of-trade. They were not transferred between staff and lending hammers was not permitted. But it was an onerous task for staff to hammer and tally hundreds of logs, or thousands of fence posts each week, so in about 1990 a system was introduced whereby hammers were allocated to logging contractors to grade logs and tally them instead. But there was still spot checking by authorised officers. A register was kept, and contractors paid a substantial deposit to make sure they didn't lose them, but they occasionally turn up by fossickers with metal detectors. While branding hammers are still used in some smaller locations, plastic tags and barcodes are now more common.Metal log branding hammer with a crown stamp on one end with a unique number (453) in the middle which identified its owner, and a crows foot or broad arrow on the other. The unusual bent metal handle was designed to protect user from banging their fingers on the log. It was also fitted with a rubber hand grip. Most FCV branding hammers were issued with wooden handles. The branding hammer 453 was initially issued to Wally Cowell at Beechworth. It was reissued to Jim Browning upon Wally’s retirement The hammer still had a wooden handle, but the it broke and became loose inside hammer head. Russel Pritchard from the Beechworth Depot replaced the handle with a new metal one and put a dog leg in it It mainly branded forest produce cut in Mt. Pilot and Reedy Creek areas. The main logging contractors were Gordon Habeck from Chiltern and Steven Goldsworthy from BeechworthCrown mark one end (453) and Crows foot other endforest harvesting, forests commission victoria (fcv)

On reverse: Black Knight Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E1224 (in pencil) Date: 23 Sep 1958 (over stamped) Subject: Classification: UNCLASSIFIED (over stamped)1958-09-23, alan gardiner collection, black knight rocket, launch pad, salisbury, south australia, space industry, woomera, rocket

On reverse: Skylark Launcher Also stamped in blue ink: Phone: Ex. 253 STILL PHOTO SECTION W.R.E. SALISBURY, S.A. Neg. No. E581 (in pencil) Date: 25 Jul 1967 (over stamped) Subject: Classification: UNCLASSIFIED (over stamped)alan gardiner collection, salisbury, south australia, space industry, weapons research establishment (wre), woomera, launch pad, 1967, 1967-07-25, skylark rocket

Puffing Billy Preservation Society 50th Anniversary sign This is the large poster board that was erected at Lakeside to celebrate the 50th Anniversary of the Puffing Billy Preservation Society in 2005. Established in 1955, the Puffing Billy Preservation Society was formed to operate the narrow gauge trains between Upper Fern Tree Gully and Belgrave following the successful Young Sun specials. With the conversion of the Upper Fern Tree Gully to Belgrave line to broad gauge track, the Puffing Billy Preservation Society was the instigator of restoring the Puffing Billy Railway from Belgrave to Menzies Creek in 1962, Menzies Creek to Emerald in 1965 and Emerald to Lakeside in 1975 and in association with the Emerald Tourist Railway Board, Lakeside to Gembrook in 1998. Historic - Puffing Billy Preservation Society - Station Sign - for the 50th Anniversary of the Preservation SocietyPuffing Billy Preservation Society 50th Anniversary sign Large rectangle metal sign - off white back ground with black lettering Puffing Billy Preservation Society 1955 - 50th Anniversary - 2005 1900 . Line opened by Victorian Railways 1953 . Landslide - Line closed by V.R 1955 . Society established 1962 . Re-opened by Society Today still predominantly volunteer - operated puffing billy, preservation society, station sign, 50th anniversary, lakeside station

Digital image: Matthews Bros, Hargreaves Street, Bendigo, document issued to Miss. D. Cherry, c/-Mrs. Burke, Old House at Home Hotel, c/- Whytes Bus, Andrews Auction Rooms, On label ' Matthews Bros., Hargreaves Street, Pall Mall, Bendigo. Look for the busy red emporium where quality tells. Drapers, mercers, ladies wear etc. Sent by email from Maurice Austin, Oak Park Vic., ([email protected]) His email states, 'was given this label today by the 80-year-old son of the D. Cherry noted on the label. She was in fact to become Dorothy Fartch, my donor's mother. …. Before she was married, she was employed by Ma Burke at the Old House at Home pub, and often acted as a 'cockatoo' out from on Sundays! … the name Whytes still sadly in the news I note from searches today the pub still exists also I note. …. the label was and still is attached to a large piece of brown wrapping paper that was used to line a big wooden box as was typical usage in the old days. Please credit 'Maurice Austin Collection' if the label is used for any purpose.bendigo, cherry, old house and home hotel

The church building still exists in Turriff.The photograph shows the front and one side of the weatherboard churchturriff methodist church

In 2017 known as the Kangaroo Ground Operations Centre a facility for hire managed by the Shire of Nillumbik. On 7 February 2009 (Black Saturday) the CFA Incident Control Centre (ICC) was located here. Described in "Worst of Days: Inside the black Saturday firestorm" by Karen Kissane (access via Google books): "..the ICC is part of a mud brick complex built in the 1980s as an emergency operations centre for several agencies, including the State Emergency Service. It is also home to the headquarters of the CFA's Lower Yarra Group. A small office with a whiteboard would be the incident controller's office throughout the office, but a larger central room, with data projectors, "smart boards" and maps would house the rest of the team.."Statement of Significance From the Victorian Heritage Database (2010) What is significant? The 1988 emergency operations centre and the surrounding site to the title boundaries. How is it significant? The emergency operations centre is architecturally, aesthetically, socially and historically significant to the Shire of Nillumbik. Why is it significant? The emergency operations centre is architecturally and historically significant as a good and rare example of a large public building constructed in a 1980s version of the 'Eltham style', and as a rare attempt to adapt the 'Eltham-style' aesthetic to meet the changing demands of the Shire in the 1980s (Criteria B, D & E). The emergency operations centre is architecturally and aesthetically significant because it is constructed of mud brick and features: a central entry with a tile mural (Criterion E). The emergency operations centre is socially significant because it is a focal point for the community and has played an important role in protecting the community since 1988 (Criterion G).Two colour photographs of mud brick Emergency Operations Centre building, Kangaroo Groundbuildings, mud brick, emergency centre, kangaroo ground

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL PUBLIC LIBRARY The Warrnambool Mechanics’ Institute (WMI) was formed by a voluntary community group in 1863, within six years of Warrnambool’s beginnings, and its Reading Room opened in 1854. The WMI operated until 1963, at which time it was one of the oldest Mechanics’ Institutes in Victoria. Mechanics’ Institutes offered important services to the public including libraries, reading rooms and places to display and store collections of all sorts such as curiosities and local historical relics. In 1886 a Museum and Fine Arts Gallery were added to the WMI and by the beginning of the 20th century there was also a billiards room and a School of Art. By this time all Mechanics’ Institutes in country Victoria had museums attached. Over the years the Warrnambool Mechanics’ Institute Library was also known as the Warrnambool Public Library the Warrnambool Library and the Free Library. Early funding from the government was for the “Free Library”. The inscription in a book “Science of Man” was for the “Warrnambool Public Library”, donated by Joseph Archibald in 1899. Another inscription in the book “Catalogue of Plants Under Cultivation in the Melbourne Botanic Gardens 1 & 2, 1883” was presented to the “Warrnambool Library” and signed by the author W.R. Guilfoyle. In 1903 the Warrnambool Public Library decided to add a Juvenile Department to library and stock it with hundreds of books suitable for youth. In 1905 the Public Library committee decided to update the collection of books and added 100 new novels plus arrangements for the latest novels to be included as soon as they were available in Victoria. In July 1911 the Warrnambool Council took over the management of the Public Library, Art Gallery, Museum and Mechanics’ Institute and planned to double the size of the then-current building. In 1953, when Mr. R. Pattison was Public Librarian, the Warrnambool Public Library’s senior section 10,000 of the 13,000 books were fiction. The children’s section offered an additional 3,400 books. The library had the equivalent of one book per head of population and served around 33 percent of the reading population. The collection of books was made up of around 60 percent reference and 40 percent fiction. The library was lending 400 books per day. In 1963 the Warrnambool City Council allocated the site of the Mechanics’ Institute building, which included the Public Library, Museum and Art Gallery, for the new Municipal Offices and the Collections were dispersed until 1971. The Warrnambool Library took over the Mechanics’ Institute Library’s holdings on behalf of the Warrnambool City Council. Since the closure of the Warrnambool Mechanics’ Institute the exact location and composition of the original WMI books and items has become unclear. Other materials have been added to the collection, including items from Terang MI, Warrnambool Court House and Customs House. Many of the books have been identified as the Pattison Collection, named after the Librarian who catalogued and numbered the books during his time as Warrnambool Public Librarian in the time before the Mechanics’ Institute closed. It seems that when Warrnambool became part of the Corangamite Regional Library some of the books and materials went to its head office in Colac and then back to Warrnambool where they were stored at the Art Gallery for quite some time. Some then went to the Warrnambool Historical Society, some stayed at the Art Gallery and some were moved to Flagstaff Hill Maritime Village. The various stamps and labels on the books held at Flagstaff Hill show the variety of the collection’s distribution and origin. The books in the collection at Flagstaff Hill Maritime Village date from the 1850’s to the late 1950’s and include rare and valuable volumes. Many of the books are part of the “Pattison Collection” after the Warrnambool’s Public Librarian, Mr. R. Pattison. WARRNAMBOOL'S MECHANICS' INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. SIGNIFICANCE The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, and to reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. As with many Mechanics' Institutes in Australia, the one which operated in Warrnambool was established and overseen for many years by key individuals associated with the development of the city itself. The WMI publication collection is historically significant because of its association with local people, places and the key historical themes in the development of Warrnambool of rural development, industry, farming, education, and community. The collection documents and illustrates the changing interests, focus and tastes of Victorians, especially those in regional cities. Generally the individual items in the collection are not particularly rare, as examples of all probably exist in other public collections in Victoria. It is primarily because there are so very few surviving Mechanics' Institute collections in Victoria, which lends this overall collection its significance. Many items in the WMI Collection have the potential to support further research, both as individual objects and through the collection in its entirety. This material is significant for its ability to assist in the interpretation of the history of the area and adds to the general understanding of the development of the township. Many components of the WMI publication collection complement and reinforce the Flagstaff Hill Maritime Museum Collection, the Warrnambool Art Gallery Collection, and that in the Warrnambool Historical Society, and also contribute to a clearer understanding of the original Warrnambool Mechanics' Institute collections. This will greatly enhance the appreciation of the few surviving Mechanics' Institute collections across Victoria, and also in New South Wales. The similarities and differences between the small number of collections that have survived can provide further insights into how the people of Victoria in general, and Warrnambool in particular, constructed a civic culture of adult learning to foster an informed citizenry. The Warrnambool Mechanics' Institute publication collection is of both local and state significance. To-Night at 830 Play Titles 1)We Were Dancing 2) The Astonished Heart 3) "Red Peppers" 4) Hands Across the Sea 5) Fumed Oak 6) Shadow Play 7) Ways and Means 8) Still Life 9) Family Album Author: Noel Coward Publisher: William Heinemann Ltd Date: 1937Label on spine cover with typed text PAT 822 COW Pastedown front endpaper has sticker from Warrnambool Public Library covered by a sticker from Corangamite Regional Library Service Front loose endpaper has a stamp from Corangamite Regional Library Service Fly paper has a stamp from Warrnambool Mechanics Institute warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, great ocean road, to-night at 830, noel coward, we were dancing, the astonished heart., red peppers, hands across the sea, fumed oak, shadow play, ways and means, still life, family album

The site on the corner of Thompson Avenue and Church Street, Cowes was reserved on the 12th April 1869 and the church was erected by the end of the year. Financed by the Island Church of England people. Dean McCartney preached the first sermon and performed the dedication service on 30th January 1870. Prior to this time services were held at the McHaffie homestead, Ventnor. Mrs S D (Georgianna) McHaffie, wife of the first European settlers, wrote in her diary "30th January 1870. Drove to Cowes, opened the Church, fine day". the large Bible presented by her is on loan and displayed in the Museum of the Phillip Island & District Historical Society.The timber Anglican Church of St Philips was built by Alex McLardy Sen. in 1869. It is still situated in Thompson Avenue on the corner of Church Street. The Vestry was added by Mr Alex McLardy in 1903 at the cost of 21 pounds. In 1912 a Sanctuary was added to the church and a Memorial Stained Glass Window donated by Miss Rose in memory of her father and two brothers was installed.local history, photographs, buildings, historic, buildings - historical, coloured photograph, john cook, phillip island, anglican church

This art work is an example of an Art Deco print created through lithoprint / lithograph techniques. As a print it would have been more affordable than an original artwork and hence could be purchased by a wider cliental. Little is known about the artist, but Jean Lasalle is listed as producing another print used by Tuck & Sons in their Oilette postcard series.This item is significant socially as an example of artwork that may have been displayed in homes around the 1910s- 1930s. The Oilette logo carries significance, linking the print to a business that was influential in the early production of postcards.Unframed print on board with some framing tacks still attached to the back of the board. Print area is in fair condition. The print has been stuck to a ‘paper frame' which has been attached to the backing board. The subject of the print is a lake view, with steep mountains in the background and two female figures on a bench in the foreground in the Art Deco style. Colours are muted. The print has the artist's signature 'Jean Lasalle' (looking at the print bottom left) and the words 'Oilette' (looking at the print bottom right) with a small logo composed of an oval and square underneath.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lithoprint, lithograph, oilette, golden dawn, art deco, jean lasalle, print, day dream

Programme and Menu for 50th Anniversary Dinner (Bendigo Rowing Club) at Shamrock Hotel, March 4th 1982. (50th Anniversay of Cycling Tour to Sydney to compete on Sydney Harbour in Feb 1932). Names of those 'Present' (ie still alive) and those of ''Departed Colleagues'' listed along with background to the 'madcap' idea and four photographs of the tour en route.Cambridge Press, Bendigobendigo, clubs, bendigo rowing club, shamrock hotel, arthur cambridge, cycling tour to sydney.

The lamp still burns : Nursing in Victoria 1936-1981: An autobiographical account. First published 1989 by The Faculty of Health Sciences, Bendigo College of Advanced Education. Printed and bound by Australian Print Group, Maryborough, Victoria. viii, 187 pg. Includes b/w photographs. Paperback Copy signed by author “Isobel “Spark” Gill 6/12/1994”Isabel 'Spark' Gillbook, bendigo, nursing

Sheer embroidered nylon. Silk thread embroidery in a floral pattern. Scalloped edge finishes the lace panel. The original train on the wedding dress was a feature of the wedding gown, falling in tiers as a "waterfall" effect. One tier was later used by Merle to make a christening dress for her first child, Bronwyn. Evidence is still visible of the gathering thread at the top of this panel.costume accessories, female, wedding dress train fabric

Photographic enlargement of a postcard of centre of Bendigo showing tram stopped near Alexandra Fountain. Businesses visible in the background include C. Plume, tailor, and J. R. Edwards, (watchmaker), PRE 1934 as tram is still carrying old colour scheme, not S.E.C. livery. Written on back in black of photo: '51/2 X 8, page 82, 83%.cottage, miners

Handwritten letter dated 22-6-96 to Mr Ashman from Gilbert Tippett. Dr. Paul Haigh found one of Dr. Abbott's books on Scalebuoys in the Sydney University and wanted more information so he sent letters to the libraries. Scalebuoys are mentioned. The writer wanted to know if Scalebuoy installations were still in use in the Bendigo area.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, mr ashman, dr paul haigh?, dr abbott, sydney university, bendigo library, ballarat library, a-? mackenzie, gilbert tippett

A Slazenger Super Whippet, graphite/composite squash racquet, with small, recessed throat, and synthetic handle grip which is still sealed in original plastic wrap (1). Racquet accompanied by vinyl cover (2). Materials: Graphite, Nylon, Ink, Adhesive tape, Synthetic material, Plastic, Composite Materials, Vinyl, Ink, Synthetic material, Plastic, Metaltennis

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Window, D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.Annotation on reverse: "Bars on pantry window were for protection against raiding blacks. Retained for historic interest."australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Raheen in Studley Park Road, Kew in 1976. The building of the house commenced in 1870, while major additions were made in 1884. The view is of the fence and tower. Presumably the photograph was taken from Studley Park Road. The property was still during this period the palace of the Catholic Archbishop of Melbourne. The colour of the slide has degraded over time. historic houses -- kew (vic.), raheen -- studley park road -- kew (vic.)

A property illustration by Margaret Picken Commissioned by the real estate agency Woodards Blackburn for the purpose of advertising 1 Boyle St., Forest Hill This property is listed as having sold for $144,500 in 1994 Made by using Rotring ‘Rapidigraph’ drafting pens with Rotring ink on Rapidigraph polyester drafting film, double matte. Trained as a cartographic draftsman within the mining industry, Margaret Picken is an artist who worked producing property illustrations for real estate agencies in eastern suburbs of Victoria from 1983-2005. Retiring from the industry as technological changes favored coloured photography over illustrations, and commissioning companies over sole contractors.This artwork is of Historical Significance as a record of local domestic architecture.A black ink line drawing on drafters film by Margaret Picken, of 1 Boyle St., Forest Hill of a two story house with a double garage in the background. Of a driveway on the left leading to a carport, with a path leading to the entrance of a one story brick house. There are two hole punch holes along the top edge, with the punched out holes still attached.1 Boyle St., Forest Hill Margaret Picken -94 Woodards B/Burnwhitehorse historical society, schwerkolt cottage, housing, architecture, margaret picken, house, garden, forest hill