Black hard covered book with red spine, holding Victorian Education Gazettes for one calendar year. .1) 1910 .2) 1912 .3) 1911 .4) 1914 .5) 1918 Images: Open Air Classroom Black Rock; Open Air Classroom, Jeetho, Gippsland; Open Air Nurses bedroom, Mildura; Gym at Canterbury School ; Babies and Nurses at Melbourne Foundling Hospital; Camp at Portland; Alexander Peacock Opens a Melbourne School; Unveiling Major Mitchell Memorial at Mt Arapiles; Agricultural Plot; School Interior; Swimming Drill; Graham Dux Prize Board; Bathing Place; Classroom with blackboard and pictures; Major Mitchell's Map; Melbourne, Derbyshire; Market Place Melbourne; The Blackwood; World War One Send-off at The Athenaeum; Scarsdale Old Boy's logo; Sloyd articles for the Field Hospital; World War One; Gifts for Transport to the Wharf; soldiers; ANZAC Day; ANZAC Day Medalion .5) 1915: Education Department's War Relief Fund, William Park obituary, Closer Settlement Act 1912, Agriculture, needlework, Swimming and Life Saving, explorers, Gregory Blaxland, Matthew Flinders, Composition, Geography, potatoes, onions, gardens, Needlework for Infants, Iona and Staffa, Trained Primary Teacher's Course, Electricity, Electrical Technology, hygiene, Arbour Day, Horticulture, Wattle Day, Bird Day, Technical Schools, Landing at Gaba Tepe, Evils of Alcohol, Old Boys of Scarsdale, Belgium, Teachers' College Images: The British at War, The Sonnet, History and Patriotism, Male Swimming Teachers Summer School at Geelong, Women Swimming Teachers at Port Fairy, Buln Buln State School, Burwood East State School, needlework plans, methods of Rescue and Resucitation. plan of the journey of Gregory Blaxland, Macquarie House, teachers killed (William Ross Hoggart, Stanley Robert Close, William Roy Hodgson, Campbell McDiarmid Peter, William Henry Dawkins, William Hugh Hamilton, Frederick McRae Neal, Vernon Brookes, Frank J. Olle, Alfred J. Collins, Ernest R. Fairlie, William J. McLaren, A.E. Smith, Thomas Patton, Francis W. Kemp, Frederick G. Hall, Rupert O. Hepburn, Woolston J. Govan), Frederick Harold Tubb VC, Botanic Gardens Red Gum, Shelter Pavillions, Head of Wheat, Australian Commonwealth Flag, Iona Cathedral, Drawing exercises, ANZAC Madallion, School Rolls of Honor .6) 1916 - Nature Study, war relief, school gardening, horticulture, singing class, geography of the war, School Rolls of Honour, Ponsonby Carew-Smyth, Astronomy, ANZAC Day, Empire Day, Arbor Day, "Some Suul of Goodness in Things Evil" by Frank Tate, War Relief Gardeners' League, ANZAC Day medallion, Solar System, Abolition of German Schools in Victoria, ANZAC Avenues, avenues of honour, Geography of the War: The West, War relief and handwork, Victorian State Schools Horticultural Society, Patrick Maloney obituary, formalin lamps, Victoria League of Victoria, Wonwondah East Roll of Honor Images - Teachers killed (John Clarke, A.C.H. Jackson, Alexander Robertson, Noel Gambetta, Ralp E. Leyland, Laurance J. Woodruff, Walter E. Cass, Percy D. Moncur, Thomas M. Carmichael, Edward G. Brain, Reginald N.F. Woods, George E. James, William Colvin, David Dobson, Stanley L. Robinson, Charles Allen, G.E. James, H.F. Curnow, Franl L. Cousins, James R. Thompson, Henry H. Campbell, George E. Read, Ernest D. Morshead, Wilfred S. Merlin, Henry R. Wright, George B. Webb, Noel Nicholas, David H. Thomas, Charles A. Levens, Thomas R. Fenner, John M. Daniell, P.J. Larkin, Ralph Smith, Philip Ormsby), school rolls of honour, Swimming Instructors at Queenscliff, The Southern Sky, Map of the North Sea and its Littorals, Easter School of Horticulture at Oakleigh, Map of the Eastern Front, Map of Mesopotamia, Map of the War Area in the Egyptian Campaign, leeches for the Melbourne Hospital .7) 1917 - Swimming and Life-Saving, Childre's FLower Day, Education Department's War Relief Fund, State War Council, Horticulture, Bird Day, Swimming, Growing Chicory at Cowes Images - Teachers killed during World War One (G.M. Nicholas, William C.W. Spencer, J.W.C. Profitt, Ivon C. Bromilow, John Colwell, Robert W. Campbell, Arthur P. Bourchier, Francid G. Houston, Claude N. Harrison, Edgar Williams, Leslie A. Stevens, Charles E. W. Chester, Stanley R. Green, Walter Baker, Arthur G. Scott, Harry L. Swinburne, Horace W. Brown, Arnold Bretherton, Edward W. Jenkins Aubrey Liddelow, Ewen A. Cameron, Edmund R. Lyall, John H. Martin, Harry Bell, Frank L. Nicholls, Melville R. Hughes, Edwin W. Hauser, Walter S. Filmer, Walter G. Barlow, Henry A. Donaldson, Edward H. Jones, Walter W. Raw, Alfred W. Dean, Wiliam Lea, Frederick G. Drury, J.T. Richards, Norman G. Pelton, Lance-Corporal Doran, Kenneth F. McKenzie, William F. Robertson, Wiliam Jarrott, Norman Graham, George G. Paul, Victor Green, Arthur William Rennie, Alfred J. Glendinning, Robert B. Liston, Eward P. Toll, George Jones, Errol E. Rodda, Christian P. Christensen, Charles F. Sydes, H.G. Clements, Norman C. Fricker, J.M. Romeo. Eric N. Lear, Thomas J. Bartley, Norval Birrell, Frederick H. Tubb. J.T. Hamilton Aram, Arthur Wilcock, William M. Conroy, Alex. H. Miller, Patrick J. Cunningham, Charles S. Mitchell, John R. Maddern, James Roadknight, Harry Arundel, Jack C. McKellar, duncan M. McKellar, George S. Manfield, Edgar C. Holmes, George A. Young, Raymond A. Gardiner, William B. Bell, William Opie, George R. Scott, Richard V.B. Vine, Herbery S. Marshall, Hugh St Omer Dentry, George B. Fullerton, Harry Oulton, Iva F. Morieson), School Honor Books, Drawing, Presentation of 30,000 pounds to the British Red Cross at Melbourne Town Hall .8) 1918 .9) 1919 - Photographs of World War One soldiers from the Education Department, Margaret Montgomery Memorial, 1918 Act relating to State School Teachers, State Scolarships, Victorian State Schools' Horticultural Society, Pneumonic Influenza, Spanish Flu, epedemic, swimming and life savinfJunior cadet training, vacancies in Fiji, School Committees, Arbor Day, Arbour Day, Henry Harding of Yinnar, Planting Trees and Shrubs, Juvenile Crime, The use of 'Get', Soldier-Teachers from Overseas in Congress London, Australia's Effort in the War, Military, Working Bees, Tree Planting, fence building, Welcoming Home a Returned Soldier, Avenue of Honour planting, Discipline, Unveiling an Honor Board, School gymnasium, school tennis court, E. E. Crogger grave at Aldershot, The School Honor Book. War Relief Fund, Commonwealth War Record, Caulfield Military Hosptial, ANZAC Day Pilgrimage, Jimmie Panikin, Donald Fraser, Arthur Mee, Card Sun Dial, Balboa Day in Honolulu, William Hamilton, Alfred Jackson, The Backward Child, Flies, Language Teaching and Learning, Spelling, The Education of the Adolescent, victorian education gazette, education gazette and teachers' aid, sloyd, william a. cavanagh, james i froebel, school, education, world war one, memorials, alfred williams, exploration and settlement, cadets, australian naval college, bernard o;dowd, birds, swimming, drawingempire league, eucalypts, paper in history, forestry, arbor day, identification of trees, forestrey museums, fiji, gravel hill school band, horticulture, hygiene, gould league of bird lovers, life saving, la perouse, bandin, j. holland, w. hamilton, charles sturt, principles of archimedes, james holland, william hamilton, scarsdale old boys' reunion, foundling home melbourne, montessori education, open air schools, james hughes, marie corelli, flinders sydney harbour, major mitchell's map, tooth brushing, r.h.s. bailey

HISTORY OF THE BALLARAT OLD COLONISTS' ASSOCIATION HOMES AT CHARLES ANDERSON GROVE, LAKE GARDENS One of the original objectives of the Association was “to provide the shelter of a house for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years.” While the first home at Charles Anderson Grove was built in 1925 the Association had previously provided relief for needy pioneers from the time it was formed in 1883. Relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas boxes of groceries to deserving pensioners and in some cases payment of burial costs. Records indicate that in September 1922 three of the pensioners being assisted by the Association were accepted as residents in the newly erected Hassell Homes in Gillies Street (now demolished-opposite the High School). The first site for an Asylum for Indigent Members of the Old Colonists' Association was temporarily reserved from sale in October 1891. The site was approximately 28 acres in area in Mt Clear nearly opposite Midvale Shopping Centre in Main Road. The site was heavily timbered and when cleared over 260 tons of wood was sold to the Woah Hawp Gold Mining Company. A set of gates were erected but no homes built, although a plan for this reserve was drawn which showed twenty buildings ranging from one to four unit per building. The reserve was revoked in November 1909. The second site temporarily reserved in November 1909 as an Asylum was in Alfredton and consisted of some 7 acres and was adjacent to land reserved for an Abattoirs for the Ballarat Council. The reserve was revoked in February 1912 as it was deemed more appropriate to be added to the Abattoir site. Council suggested four (4) other sites in exchange for this land and they were inspected by the President, Vice President and Secretary on 22 December 1912. The first site inspected was land on the west side of Creswick Road opposite the brick kilns (now occupied by the showgrounds and oval). The land was described as being good quality, well fenced, no trees, good drainage and ample acreage but some distance from trams. The second site was Perry Park which was described as being good land, well fenced, having frontage to Gillies Street, good drainage and about 26 acres (but subsequently reduced to 10 acres). It was closely planted with Pinus Insignias and Wattle and had easy access from the Botanic Gardens tram. The third site was the North West portion of Victoria Park (corner of Sturt and Gillies Street) and was described as good land, well fenced and drained and well located. The fourth site was the South West corner of Victoria Park and known as Pound Paddock (corner of Winter Street and Gillies Street). It was considered to be low lying and too close to the Abattoir, and was also a considerable distance from trams. While the third site was recommended as the most suitable for the erection of homes it was considered unwise from the point of view as citizens to reduce the acreage of the park and therefore it was recommended that the Perry Park site be asked for as the most acceptable to the Association for the building of homes. The site was eventually temporarily reserved for an Asylum for Indigent Members of the Association in April 1914 with the gates from Mt Clear having been removed to the site a year earlier and eventually erected in 1917 for £12.10.0. In the same year the first 290 pine trees were advertised for removal in July and sold for £16. A sign indicating that the site was reserved for the erection of cottages was erected in September 1917. Stripping of the wattle bark (for tanning) and the cutting of the wood occurred in November 1918 with the land then being leased until it was required for the construction of the first homes in 1924. While the site was the third to be reserved it was the only one which was used for its intended purpose. It was named as Charles Anderson Grove in honour of Charles Anderson who joined the Association in 1918 and was President of the Association from 1942 to 1944. A number of cottages in the Ballarat Old Colonists' Association Retirement Village of Gillies Street, Ballarat.charles anderson grove, old colonists' club, ballarat, old colonists' association, old colonists' homes, retirement village

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photograph of a sandstone detail on a double storey, red brick building - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

Duncan McDougall was associated with the pioneering X-rays conducted by the Ballarat School of Mines in 1896. He was in the Mendelssohn Choir, and was associated with Professor Ross from University of Western Australia. The Ballarat Courier reported on 20 July 1896:"The Ballarat Courier reported on 20 July 1896 Thanks to the energy of the staff of the School of Mines Ballarat and particularly to Messers F J Martell and Duncan McDougall the assistance of Roentgen xrays will soon be available, for the relief of suffering at this institution. On Wednesday evening 22 July 1896 a number of ladies and gentlemen witnessed a series of experiments with the Roentgen x rays." Duncan McDougall later worked at the Kalgoorlie School of Mines as a lecturer in physics and mathematics. on 19 February 1905 the 'West australian' newspaper announced: " Mr Duncan McDougall, formerly of the Ballarat, and later of the Maryborough Schools of Mines, was appointed to succeed Mr. Hart. Mr. McDougall had also charge of the branch class at Midland Junction. In both cases his work proved thoroughly good. The alterations in the trades class regulations will cause all the students in these classes to take up the study of this subject. I have every confidence that Mr. McDou gall will handle these large classes as successfully as the classes he had last year." By 1925 McDougall is being reported in the Perth Daily News: "Duncan McDougall, lecturer on electrical engineering and physics at the W.A. School of Mines, put forward a scheme for reducing the cost of mining in Kalgoorlie. He contended it was the duty of the State and Federal Governments to establish a central electricity generation plant in Kalgoorlie and supply power to the mines at not more than 1/2d a unit, at 3/4d per unit for winding only, and at 2d per unit for lighting. He suggested, the transmission of this power over a radius of 25 miles from Kalgoorlie." (06 May 1925)Photograph of a man in a shirt, bow tie and jacket, holding a scroll and wearing glasses. He has two books beside him on a table. The man is Duncan McDougall, and is portrait was taken in the Charlie Farr studio at Maryborough, Victoriaduncan mcdougall, mcdougall, x-ray, xray, xray, ballarat school of mines, choir, mendelssohn, kalgoorlie

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photographs of a double storey, red brick building built - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. This building is now the Gribble Building on the Federation University Australia SMB Campus.Artwork by students of the Ballarat Technical Art School from the 1934 Ballarat School of Mines Students' Magazine .1) Stairs to the Ballarat Junior Technical School from Grant Street .2) Caricatures by Nornie Gude .3) work by Colin S. Hunt .4) A girl and a rooster by Gilda Gude .5) Self Portrait .6) Main entrance to the Ballarat Technical Art School by Lorna Bailey .7) Artwork from the magazineballarat technical art school, gribble building, gribble, stained glass, white flat, hopwood, bailey, gude, ballarat junior technical school, visual arts

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

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 handbook is issued to all Legatees to assist them with their work with the legacy widows; eg childrens' education, welfare, accommodation, health. A quick easy guide to services provided by Melbourne Legacy such as bursaries, medical care, financial assistance etc for Legatees use. It was reissued annually for many years prior to keeping this information electronically. Many issues are held at 00002 and 01080. Chapters of the book include the following, many of which are committees: Administration Anzac Day Observance Comradeship. 'Comradeship is an integral and important part of Legacy. This committee's function is primarily to arrange social and other activities which bring members together so that they become known to each other on an intimate and friendly basis; and so that when a member strikes a problem, he immediately knows with whom he might get into touch to discuss it in then spirit of mutual assistance.' Finance Huntingdale (Golf Club) Intermediate Legacy Liaison Personnel Committee Programme Committee Dealing with the Junior Legacy Committee: Boys' Group Camps and holidays Christmas party Contact Cultural and Library Dental Demonstration Education Employment Firewood Girls' Group Housing and accomodation Legal Longbank (holiday home for widows in need of a rest) Medical Newsletter Older widows Optometrists Pensions Probation Residences Special cases Welfare Appendix A Allowances for school requisites Appendix B Scholarships Appendix C Pensions / War widows pensions / Commonwealth widows pensions / Immediate assistance SCTF Appendix D Repatriation Department Appendix E Commonwealth Social Services Appendix F CWD - Children's Welfare Department Appendix G Hospital and medical benefits for Legacy Widows and their dependants Appendix H AMF Relief Trust Fund Appendix I SCTF - Services Canteen Trust Fund Appendix J Sir Samuel McCaughey Bequest Appendix K Various sources of assistance available (eg clothing, blankets, POW associations, RSL, conveyance allowances.)This booklet assisted legatees locating services available to widows and children from within Legacy or government departments.Five copies of the Handbook for Contactors. Different covers from different dates, 1 green, 1 apricot, 2 grey, 1 blue.2 x Melbourne Legacy, Legacy logo, Handbook for Contactors, Issued with Melbourne Legacy Diary 1959/1961-62. 2 x Melbourne Legacy, Legacy logo Handbook for Contactors, For use in conjunction with Melbourne Legacy Diary 1972. 1 x Melbourne Legacy, Legacy logo, Handbook for Contactors, For use in conjunction with Melbourne Legacy Diary 1966.regulations, objectives, rules, register

A handbook is issued to all Legatees to assist them with their work with the legacy widows; eg childrens' education, welfare, accommodation, health. A quick easy guide to services provided by Melbourne Legacy such as bursaries, medical care, financial assistance etc for Legatees use. It was reissued annually for many years prior to keeping this information electronically. Many issues are held at 00305. Chapters of the book include the following, many of which are committees: Administration Anzac Day Observance Comradeship. 'Comradeship is an integral and important part of Legacy. This committee's function is primarily to arrange social and other activities which bring members together so that they become known to each other on an intimate and friendly basis; and so that when a member strikes a problem, he immediately knows with whom he might get into touch to discuss it in then spirit of mutual assistance.' Finance Huntingdale (Golf Club) Intermediate Legacy Liaison Personnel Committee Programme Committee Dealing with the Junior Legacy Committee: Boys' Group Camps and holidays Christmas party Contact Cultural and Library Dental Demonstration Education Employment Firewood Girls' Group Housing and accomodation Legal Longbank (holiday home for widows in need of a rest) Medical Newsletter Older widows Optometrists Pensions Probation Residences Special cases Welfare Appendix A Allowances for school requisites Appendix B Scholarships Appendix C Pensions / War widows pensions / Commonwealth widows pensions / Immediate assistance SCTF Appendix D Repatriation Department Appendix E Commonwealth Social Services Appendix F CWD - Children's Welfare Department Appendix G Hospital and medical benefits for Legacy Widows and their dependants Appendix H AMF Relief Trust Fund Appendix I SCTF - Services Canteen Trust Fund Appendix J Sir Samuel McCaughey Bequest Appendix K Various sources of assistance available (eg clothing, blankets, POW associations, RSL, conveyance allowances.)This booklet assisted legatees locating services available to widows and children from within Legacy or government departments.Cover, cardboard, colour pale yellow, pages paper, colour white. Black print. Corners of cover cut off at an angle.Melbourne Legacy, Legacy symbol, Handbook for Contactors, issued with Melbourne Legacy Diary 1960. regulations, objectives, rules, register

Salvation Army Donation Tin. Two photographs possible the front and back of one tin. Inscriptions reflect the role of the Salvation Army and their work during this period.Black & white photographs of Donation tin enlarged. Front of tin what is readable "The Salvation Army Society RESCUE AND PRISON GATE WORK broken hearts and blighted hopes slaves of Sin and Degradation. Blood and Fire. The Salvation Army. THE TOTAL number of Homes is now over Six--- Providing Daily Accommodation for 3,000 Persons AND COSTING over --1,200 PER WEEK for MAINTENANCE PLEASE HELP by placing a COIN in the box" On the back of the tin "THE ARMY PROVIDES work for the workless. Love for the Loveless. Cleanliness for the Unclean. Friendship for the Friendless. Food for the Hungry. Help for the Helpless. Beds for the Bedless. Hope for the Hopeless. Our Agencies Comprise the Following. Homes for Discharged Prisoners. Rescue Work for fallen Women. Industrial Homes for Boys. Industrial Homes for Girls. Maternity Bags. Women Shelters, Nursing Homes, Labour Tards. Samaritan Relief Work. Food Depots. Mens Shelters. Industrial Hospital Visitations. Gaol Visitation. Enquiries for Lost F" In Pencil written on the back "Larger than actual Size"stawell religion

Establishment and Functions Prior to 1860, the Chief Secretary's Department had been responsible for the administration of the gold fields and associated mining activities. In November 1860 a Commissioner of Mines was appointed and a Department was established under his administration. For the period November 1861 to June 1863, the Postmaster General was responsible for the Mining Department. A Minister of Mines was again appointed in 1863. Responsibilities of the Department of Mines were: 1. Regulation of mining and related public works activities through the issue of miners rights, business and residence licences, mining leases, mineral and other prospecting licences 2. Superintendence of the activities of mining surveyors, registrars, wardens and Mining Boards. 3. Investigation of the state's geological structure, mineral wealth and underground water resources 4. Development of the mining industry 5. Supervision of the safe working of mines, machinery and quarries including checking the credential of mine managers, inspectors and operators 6. Regulation of the disposal of sludge and other waste products 7. Administration of the Victorian Mining Accident Relief Fund. Arising from its initial responsibility for the supply of water on the gold fields, the Department became responsible for rural water supply from the mid 1860s. Statutory responsibility for rural water works during this period rested with the Board of Land and Works. In 1865 the Waterworks Act gave the Board power to construct waterworks, purchase land, levy charges and lease or sell works, while the Public Loans Act 1865 empowered it to provide loans to local water trusts for waterworks. The actual administration of these statutory provisions was undertaken by the Victorian Water Supply Department which operated from 1865 to 1889 as a sub-department of the Department of Mines, from 1889 as a department in its own right, and from 1895 to 1909 as a sub-department of the Department of Mines and Water Supply. For a brief period from 1891 to 1893 the Department of Mines was also responsible for forests and, until 1880, for the Schools of Mines subsequently transferred to the Education Department. In 1895 the Department of Mines and the Victorian Water Supply Department were amalgamated to form the Department of Mines and Water Supply. A snapshot into social history around the 1930s when the Department of works and the Mines Departments were still linkedReceipt Book for the Department of Works; Mines. Receipt No 2801 - 3000. 1st receipt Number 2801, "18th July 1936, for Rent of Cottage: 14 days for 2 pounds, 2 shillings. The inscription on the back is signed by J F Condau in 13-3-33Printed on spine "GENERAL RECEIPTS / 15 / 2801 / TO 3000" Printed on each receipt 'DEPARTMENT OF / PUBLIC WORKS. / MINES." Fill in using ink pen "(DATE) 18th July 1936 / (TO) - - - shields' / BEING) Rent of / Cottage: 14 days / (TO) 17th July / @ (symbol for pound) 1-1. p. week / . (symbol for pound) 2:2:-"Inside cover there is some red pencil writing, words and figures unreadable. Handwritten on back cover "Numbers checked / and found corredt / J S Coudou (?) / 13-3-33" One some receipts "Wharfage / S.S. Koonara"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, department of works: mines, receipt book, rent 1936, imperial currency, living costs 1936, department of works, department of mines, j f condou, 1933, 13-3-33

The following are the recollections of John Elkins, who started school in February, 1945 at Maryborough in Queensland, Australia. 'I think in Prep 1 that we had some paper to write on with pencils, but my memory of the routine use of slates is much more vivid. Each slate was framed in wood and one side was inscribed with lines to guide the limits for the upper and lower extremities of letters. The slate "pencils" were made of some pale gray mineral softer than slate which had been milled into cylinders some one-eighth of an inch in diameter and inserted into metal holders so that about an inch protruded. Each student was equipped with a small tobacco tin in which was kept a damp sponge or cloth to erase the marks. Sharpening slate pencils was a regular task. We rubbed them on any suitable brick or concrete surface in the school yard. Teachers also kept a good supply of spares, all writing materials and books being provided by the school. It is possible that the retention of slates stemmed from the political imperative that public education should be free. I do recall being given a Copy Book for home practice of letter formation, a typical practice until Grade 6. The tables at which we used to sit in the Infant School were replaced in the primary Grades by long desks seating five or six pupils. These had slots into which the slates could be inserted vertically. When the teacher asked the class to clear their desks, the command issued was "slates away!" This was an occasion for a noisy expression of relief as we dropped the slates producing a sound not unlike a volley of rifle shots, and usually brought a request from the teacher to repeat the process with no noise by holding the frames throughout. Thus, I suspect we may still have used slates in Grade Three, though by then paper, which may have been scarce during the War, seemed to be used more routinely.' The full context of John's account of writing during his primary school days can be found at: https://www.readinghalloffame.org/sites/default/files/history_of_literacy_22slates_away22_penmanship_in_queensland_australia.pdfSchool desks and benches/chairs have been in use in schools since formal group education started.Eight long school desks (five higher three lower), each with four inkwells and groove along length. eight school benches (five higher three lower). Each desk and bench accommodates four children.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

AMF Operational Ration This ration pack was developed by Sir Stanton Hicks. It contained three meals, each waterproofed (a vital consideration for the tropics), which offered a balanced selection of meat, vegetables, fruit and vitamin supplements. Before the development of this ration pack, Australian soldiers were supplied with quantities of preserved food that were difficult for a man to carry and divide, and which often did not provide a nourishing diet. Sir Cedric Stanton Hicks (1892-1976), university professor and army catering officer, was born on 2 June 1892 at Mosgiel, New Zealand. University of Otago (B.Sc., N.Z., 1914; M.Sc. Hons, 1915; M.B., Ch.B., 1923) 1916-18 Hicks served as a non-commissioned officer in the New Zealand Expeditionary Force and he assisted Professor J. K. H. Inglis in the synthesis and production of Chloramine-T for use against meningitis among the troops. Hicks was appointed government analyst in 1918. On a Fellowship 1923, he travelled to England and studied at Trinity College, Cambridge (Ph.D., 1926) and caried out research in Switzerland, Germany and the United States of America. 1927 he was appointed to the new chair of physiology and pharmacology at Adelaide University, which he was to hold until 1957. During the Depression he studied the dietary patterns of five hundred families receiving relief. 1940 Hicks was appointed temporary captain, Australian Military Forces, and performed part-time duty as catering supervisor. Moved to Melbourne as chief inspector of catering, he began a campaign for applying scientific principles to the feeding of troops. 1943 the Australian Army Catering Corps was formed. Hicks altered the basis of the allowance for military rations from a monetary to a nutrient entitlement, improved the pay and promotion opportunities of cooks, established schools of cooking and catering, devised new methods for preparing food, supported the service's adoption of the Wiles steam-cooker, and designed jungle-patrol, emergency and air-drop rations. His 'Who Called the Cook a Bastard?' (Sydney, 1972) gave an account of his experiences in military catering.Men from most families in the City of Moorabbin area served in the Australian Military Forces during World War 2.A tin container , khaki colour, used for the storage of a food ration item for a soldier serving in the Australian Military Forces World War 11.TURN KEY ← TO OPEN CAN / diagram of key / A.M.F. / OPERATION/ RATION/ 02 / D↑Dworld war 11, australian military forces, sir cedric stanton hicks, army catering corps, soldier rations, food supplys, australian diggers, food preservation

TROVE : Bendigo Advertiser (Vic. : 1855 - 1918), Saturday 7 September 1901, page 2 BONNINGTON'S IRISH MOSS. Bonnington's Carrageen Irish Moss was first introduced into New Zealand 35 years ago, and it spread gradually until the sales now extend through the whole colony, and has been in constant demand ever since. Through the genuine merits of the widely known and popular remedy for coughs, colds, etc., and encouraged by this success in New Zealand, the proprietor (Mr. Geo. Bonnington) chemist of that colony, was induced to place his celebrated preparation on the Australian market. With that object in view, some eight or ten years ago, a factory for manufacturing purposes was established (under the style of Bonnington and Co.) at 179 Harris-street, Sydney. Since then, its sales have spread far and wide, and the proprietors are pleased to notify the public generally that Bonnington's Carrageen Irish Moss can now be obtained in all the states of Australia. Every year it is becoming more known, and when once tried is always appreciated by the people. Hundreds of testimonials have been received by the proprietors from all parts, testifying to the wonderful curative properties in allaying irritating coughs, bronchitis, colds, and affections of the vocal organs. For the cure of croup, whooping cough, etc., it has proved marvellously successful and is especially prized by mothers for their children, as it never fails to give relief and effect a speedy cure. Containing nothing injurious, there is not the least danger in giving it to children. If they are troubled at night with a hacking cough or any chest affection, one dose will relieve and ensure a good night's rest. The unparalleled which has attended the sale of Bonnington's Carrageen Irish Moss has led to many worthless imitations, and the public when purchasing are cautioned to be sure and ask for Bonnington's. TROVE : Gippsland Times (Vic. : 1861 - 1954), Thursday 1 October 1908, page 3 BONNINGTON'S IRISH MOSS Can be had from any chemist or store. It is the universal remedy for Influenza, Coughs and Colds. A safe and pleasant medicine for children as well as adults. Brown cardboard box with dark blue printed text on side and pink label with black text on top. Contains seven (7) unopened and one (1) opened tall grey boxes with printed white red and black labels. Each grey box containing a cork stoppered rectangular amber glass bottle, with a red, black and white printed label. Each bottle filled with a dark liquid.Outer square cardboard box in dark blue printed text within a decorative border : ' ONE DOZEN BONNINGTON'S Irish Moss for CUGHS, COLDS, INFLUENZA etc'. Pink label sealing paper on top of outer brown cardboard box with black printed text : 'BONNINGTON'S IRISH MOSS PRICES:- No.1 size 36/6 doz. No. 2 size 56/- doz. Retail Price :- Small size 3/6 Large size 6/3. IN QUANTITY Individual packaging boxes containing bottles : Paper labels on each bottle : Embossed on side of bottles in recessed cartouche ' BONNINGTON'S IRISH MOSS COUGHS & COLDS'. Embossed on base of bottles AGM logo and 'IS 804' (4 inverted) over '6'. croup, carrageen, coughs, influenza

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

A guide to help Legatees understand their responsibilities. These handbooks are updated periodically. Also known and the Contactors Handbook. A handbook is issued to all Legatees to assist them with their work with the legacy widows; eg childrens' education, welfare, accommodation, health. A quick easy guide to services provided by Melbourne Legacy such as bursaries, medical care, financial assistance etc for Legatees use. It was reissued annually for many years prior to keeping this information electronically. Many issues are held at 00002 and 00305. Chapters of the book include the following (taken from the 1956 edition), many of which are committees: Administration Anzac Day Observance Comradeship. 'Comradeship is an integral and important part of Legacy. This committee's function is primarily to arrange social and other activities which bring members together so that they become known to each other on an intimate and friendly basis; and so that when a member strikes a problem, he immediately knows with whom he might get into touch to discuss it in then spirit of mutual assistance.' Finance Huntingdale (Golf Club) Intermediate Legacy Liaison Personnel Committee Programme Committee Dealing with the Junior Legacy Committee: Boys' Group Camps and holidays Christmas party Contact Cultural and Library Dental Demonstration Education Employment Firewood Girls' Group Housing and accomodation Legal Longbank (holiday home for widows in need of a rest) Medical Newsletter Older widows Optometrists Pensions Probation Residences Special cases Welfare Appendix A Allowances for school requisites Appendix B Scholarships Appendix C Pensions / War widows pensions / Commonwealth widows pensions / Immediate assistance SCTF Appendix D Repatriation Department Appendix E Commonwealth Social Services Appendix F CWD - Children's Welfare Department Appendix G Hospital and medical benefits for Legacy Widows and their dependants Appendix H AMF Relief Trust Fund Appendix I SCTF - Services Canteen Trust Fund Appendix J Sir Samuel McCaughey Bequest Appendix K Various sources of assistance available (eg clothing, blankets, POW associations, RSL, conveyance allowances.)A helpful booklet for Legatees in carrying out their duties.Printed paperback book with olive green cover, white pages and black type. Front cover, Melbourne Legacy Handbook and Legacy logo printed in black ink, 1951 handwritten in black biro and underlined twice in green pencil. Cover and pages stapled together. Page 4, alterations handwritten in blue ink, one alteration made by hand held stamp.regulations, objectives, rules

The Junction Dam and Clover Dam Power Station, stages of the Kiewa Hydro-Electric Scheme, were needed to meet the increased power demands of the wartime industry in Victoria. Clover added 26 megawatts to the grid. Junction Dam was completed and ready to hold water by September 1943, but was emptied in December 1943 and not filled again until May 1944. Construction of Clover Power Station commenced in July 1941 and both turbines were in service by May 1945.Clover Power Station and Junction Dam were part of the Kiewa Hydro Electric Scheme constructed by the State Electricity Commission of Victoria.Set of 21 black and white photographs taken by the official SECV photographer who gave each photo a number prefixed by K (for Kiewa) K1367- 19 Nov 1943 The rotor for the generator K1368- 19 Nov 1943 Base of the generator K1377- 2 Dec 1943 Generator under construction K1380- 2 Dec 1943 Power Station under construction K1381- 2 Dec 1943 Generator being assembled K1386- 3 Dec 1943 Part of the generator K1389- 30 Dec 1943 Inlet pipe work K1391- 30 Dec 1943 Inside the power station K1392- 30 Dec 1943 Inlet pipe work K1396- 27 Jan 1944 Equipment in the power station K1410- 4 FGeb 1944 Unpacking equipment for the power station K1422- 16 Feb 1944 Generator being assembled K1425- 22 Feb 1944 Water way – power station K1433- no date Generator being assembled K1434- 3 Mar 1944 Constr5ucting the power station K1448- no date Generator inside the power station K1450- 17 Mar 1944 Clover Power station K1452- 17 Mar 1944 Looking down on the valve-water release from the power station K1456- 22 Mar 1944 ‘half Travel Opening- No 1 Relief Valve’ Overflow from the power station K1458- 22 Mar 1944 Outlet from the power station K1462- 22 Mar 1944 Inside the power station On the back- each photograph has a handwritten reference number starting with K and the date stamped or writtensecv; kiewa hydro electric scheme; clover power station; junction dam; bogong

TROVE : Newcastle Morning Herald and Miners' Advocate (NSW : 1876 - 1954) , Sat 3 May 1902 , Page 10, Advertising Wholesale Agents F.H. Faulding and Co. Ltd., 16 O'Connell St, Sydney. Three amber glass rectangular bottles with black Bakelite screw tops, containing a dark liquid. Front paper bottle label printed in red, yellow, black and white, Rear paper label black printed on white and applied in an a cartouche impressed on the bottle. Embossed on the base of all three bottles 'AGM' logo (post 1934 version) and 'V42'. On the side at the base of item 1 of 3 numeral '1', on the side at the base of item 2 of 3 numeral '5', on the side at the base of item 3 of 3 numeral '4', Front paper label : 'FAULDING'S ELIXIR OF IRISH MOSS OR CARRAGEEN TOGETHER WITH OXYMEL OF SQUILLS WITH TOLI recommended For Colds, Coughs, Influenza, Bronchitis, Whooping Cough, Croup, and similar Chest and Throat Complaints. 3 FL. OZS. F.H.FAULDING & CO TTD AUSTRALIA'. Rear paper label : 'DIRECTIONS Adult dose two teaspoonfuls in water, hourly until relief is obtained. Children from one to four years old, 10 drops in lukewarm water every four hours; from four to seven years, 20 drops in water every four hours; seven to fifteen years, 1 teaspoon in water every two hours. F. H. FAULDING & CO LTD. ADELAIDE, PERTH, SYDNEY, MELBOURNE, BRISBANE, LONDON'.irish moss, carrageen, elixir, medicine, influenza, whooping cough, bronchitis

This is a set of 10 photographs of Cartographic Squadron technicians undertaking map production tasks in at the Army Survey Regiment, Fortuna, Bendigo circa 1968 to 1975. Production was undertaken on the top floor of Fortuna Villa. The Fotosetter type setting machine shown in photos .1P and .2P. replaced the letterpress method of type production in 1956. CPL Arty Lane specialised in the operation of the Fotosetter type setting machine for many years. For more information on the Fotosetter, see page 71 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The computer based Editwriter Model 7500 typesetting system shown in photos .3P and .4P. was introduced in 1975 as a replacement to the aging Fotosetter. It was operated by a specialised technician, who generated a large variety of map type styles and sizes quickly and reliably, as well as text panels. Output on Copy proof adhesive backed stripping type film replaced messy wax and spray adhesives in 1978. The Editwriter capability supported all RASvy units and its contractor type setting requirements. The Aristo Co-ordinatorgraph shown in photos .5P to .7P was introduced in 1962. It was a large heavy steel framed light table with a scribing head that moved in a XY direction using a vernier calibrated measuring scale to 0.001 of an inch. Whilst hand operated it was much quicker and accurate than manual grid and graticule calculation, plotting and scribing. The history of co-ordinatorgraphs is covered in more detail with additional historic photographs, in pages 50 to 51 and page 88 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The scribing process as shown in photos .8P to .9P was the cartographic process of drafting features such as drainage, relief, vegetation, roads and culture on specially coated map reproduction material. The cartographic technician scribed out the map feature such as a contour to a specified line width on the map sheet, using a tool affixed with a sapphire tipped cutter. The quality control edit (Proving) stage of map production shown in photo .10P was the first opportunity to independently and systematically inspect a proof of the map.This is a set of 10 photographs of cartographic Squadron technicians undertaking map production tasks at the Army Survey Regiment, Fortuna, Bendigo, c1968 to c1975. The photographs were on 35mm colour slides and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .2) - Photo, colour, c1968, Fotosetter type setting machine, CPL Arty Lane. .3) to .4) - Photo, colour, c1975, Typesetting machine, ‘Editwriter’ Model 7500. .5) - Photo, colour, c1960s, PTE Desi Asaris and CPL Kalen Sargent operating Aristo Co-ordinatorgraph equipment. .6) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett, operating Aristo Co-ordinatorgraph equipment. .7) - Photo, colour, c1970s, L to R: CPL John Bennett, CPL Desi Asaris operating Aristo Co-ordinatorgraph equipment. .8) - Photo, colour, c1970s, L to R: CPL Desi Asaris scribing drainage, CPL John Bennett. .9) - Photo, colour, c1970s, CPL Desi Asaris scribing drainage. .10) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett and their supervisor WO2 Roger Rix inspecting features on an aeronautical chart proof. .1P to .10P There are no annotations stored with the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

This wooden juggling club or exercise club may also be referred to as a juggling pin. It is very similar in shape to a bowling pin or an Indian club. It dates approximately to the early 20th century. It may have been used as one of a pair for gymnastics or exercise, or part of a larger set used by a juggler for entertainment in a circus or carnival. At some time it may have been used with a ball or disc as part of a Skittles or bowling game set. The historical collection of Federation University Australia, Victoria, includes a very similar but slightly shorter club, labelled ‘timber skittle”, as can be seen in their photograph. Another example of very similar-shaped, same-sized clubs can be seen in the collection of Nobelius Heritage Park and Emerald Museum, Emerald, Victoria. JUGGLING Jugglers entertain audiences with their tricks and routines at events such as circuses, amusement parks, parties, shows on television or theatre, schools and parties. Juggles also compete at International Championships to obtain world records, performing as individuals or in groups or teams. Contemporary champion juggler David Cain performs a Juggling History Show that both entertains and educates his audience. His routines date from the early 1600s to the 20th century. He uses a wide variety of equipment in his acts including juggling clubs. EXERCISE Exercise clubs or Indian clubs were used in 19th century Victorian times as part of exercise or strengthening programs when they were swung in certain patterns and movements. Even in the early 20th century workplace a few minutes of Indian club swinging was common practice for the relief of tension. A video clip of an American school room in 1904 shows a group of boys and girls skilfully wielding clubs in an exercise sequence (see ‘Links” section). The 1904 and 1932 Olympic Games had an event called Club Swinging. Rhythmic gymnastics was added to the Olympic Program at the L.A. Games in 1984 where competitors use apparatus such as rope, hoop, ball, ribbon and clubs. The clubs come in a variety of weights and heights and have been used from the mid-1800s until around the 1930s in schools and military institutions. They are decorated in a variety of patterns and colours and some have feature lines or scored rings on them. This juggling club is significant for its association with education, entertainment and sport in the late 19th and early 20th century.Wooden juggling club (or pin, skittle or Indian club). Vintage, bottle-shaped club with a flat, slightly concave, base. Its turned, solid timber body tapers out from the base then in again to a very narrow handle with a round knob joined onto the top. Two concentric feature lines are scored into the wider part of club. It was possibly used in exercise, gymnastics or as a skittle. Sections of the club have two brown painted stripes; paint on the lower strip has been worn off at the base . There are remnants of white paint in two areas, possibly the remains of a maker’s name or decoration. There also appears to be an inscription stamped into the wooden handle but this is illegible. Late 19th to early 20th century.Remnants of what appears to be stamped lettering and painted labelling.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, wooden skittle, entertainment, bowling skittle, wooden juggling pin, wooden juggling club, wooden exercise club, indian club, exercise club, club swinging, rhythmic gymnastics, sport equipment, juggling equipment, wooden club

The Melbourne Legacy Diary/Contactor handbooks were produced annually by Melbourne Legacy. The books supply Legatees with many useful details and regulations. They include lists of current Legatees and contact details. A handbook is issued to all Legatees to assist them with their work with the legacy widows; eg childrens' education, welfare, accommodation, health. A quick easy guide to services provided by Melbourne Legacy such as bursaries, medical care, financial assistance etc for Legatees use. It was reissued annually for many years prior to keeping this information electronically. Many issues are held at 00305. Chapters of the book might include the following (taken from the 1956 edition), many of which are Legacy committees: Administration Anzac Day Observance Comradeship. 'Comradeship is an integral and important part of Legacy. This committee's function is primarily to arrange social and other activities which bring members together so that they become known to each other on an intimate and friendly basis; and so that when a member strikes a problem, he immediately knows with whom he might get into touch to discuss it in then spirit of mutual assistance.' Finance Huntingdale (Golf Club) Intermediate Legacy Liaison Personnel Committee Programme Committee Dealing with the Junior Legacy Committee: Boys' Group Camps and holidays Christmas party Contact Cultural and Library Dental Demonstration Education Employment Firewood Girls' Group Housing and accomodation Legal Longbank (holiday home for widows in need of a rest) Medical Newsletter Older widows Optometrists Pensions Probation Residences Special cases Welfare Appendix A Allowances for school requisites Appendix B Scholarships Appendix C Pensions / War widows pensions / Commonwealth widows pensions / Immediate assistance SCTF Appendix D Repatriation Department Appendix E Commonwealth Social Services Appendix F CWD - Children's Welfare Department Appendix G Hospital and medical benefits for Legacy Widows and their dependants Appendix H AMF Relief Trust Fund Appendix I SCTF - Services Canteen Trust Fund Appendix J Sir Samuel McCaughey Bequest Appendix K Various sources of assistance available (eg clothing, blankets, POW associations, RSL, conveyance allowances.)A record of Legacy compiling information for use by the Legatees in their work with widows and junior legatees.62 small books of various colours, and some covered in black plastic. Issues from between 1966 and 2014.regulations, objectives, rules

This collection of 12 photos was most likely taken in 1980. The photos were most likely taken in Cartographic Squadron’s Ante Room, the Attic and small offices on the top floor of Fortuna Villa. The computer based Editwriter typesetting system was introduced in 1975 as a replacement to the aging Fotosetter machine. It was operated by a specialised technician, who generated a large variety of map type styles and sizes quickly and reliably, as well as text panels. CPL Richards performed this task for several years and in photo .1P and .2P is reading off a type order next to the computer monitor. Output on Copy proof adhesive backed stripping type film replaced messy wax and spray adhesives in 1978. The Editwriter capability supported all RASvy units and contractor type setting requirements. Scribing was the cartographic process of drafting features such as drainage, relief, vegetation, roads and culture on specially coated map reproduction material. The cartographic technician scribed out the map feature such as a contour to a specified line width on the map sheet, using a tool affixed with a sapphire tipped cutter. The quality control edit (Proving) stage of map production was the first opportunity to inspect a proof of the map independently and systematically. Proving tasks were carried out by technicians conversant of the map product specification and task requirement, however, was not involved in its production. Corrections were identified, marked up and sent to back to the correcting section or contractors. Terrain Embossing was a manual map production technique to produce hill shading on medium to small scale graphics and air charts. SPR John Martin is seen in photos .8P to.10P using a fine embossing metal stylus to push down on the drainage impression on a thin malleable opaque plastic material (AK Poligraphy). Ridge lines were then pushed down using the contour impression as a guide, on the opposing side of the AK Poligraphy to create a 3D plastic model terrain effect. The map impression was sprayed with white paint and photographed to create a contone tone hill shade. SPR Gina (Coore) Neilson is seen in photo .11P washing a contone positive of a land mass in a solution. The contone components were registered to the map sheet, as shown in photo .12P and masked using an air brush and a halftone negative was then created. The terrain embossing method of producing hill shading was more efficient to produce than previous specialised artistic methods such pencil/eraser and air brush. Furthermore, a more consistent enhancement of terrain on charts was achieved between technicians.This is a set of 12 photographs of Cartographic Squadron performing four map production tasks at the Army Survey Regiment, Fortuna, Bendigo c1980. The first ten photographs were on 35mm negative film and were scanned at 96 dpi. Photos .11P and .12P were on photographic paper and scanned at 300 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, c1980, Editwriter typesetter, CPL Paul Richards. .2) - Photo, black & white, c1980, Editwriter typesetter, CPL Paul Richards. .3) - Photo, black & white, c1980, Scribing contours on a RAAF Chart, SPR Megan (McBurney) Reynolds. .4) - Photo, black & white, c1980, Scribing contours on a RAAF Chart, SPR Megan (McBurney) Reynolds. .5) - Photo, black & white, c1980, Scribing contours on a RAAF Chart, SPR Rod Skidmore. .6) - Photo, black & white, c1980, Scribing contours on a RAAF Chart, SPR Rod Skidmore. .7) - Photo, black & white, c1980, Formal quality control edit (Proving), CPL Ian Belmont. .8) - Photo, black & white, c1980, Hill Shade Terrain Embossing, SPR John Martin. .9) - Photo, black & white, c1980, Hill Shade Terrain Embossing, SPR John Martin. .10) - Photo, black & white, c1980, Hill Shade Terrain Embossing, SPR John Martin. .11) - Photo, black & white, c1980, Hill Shade Terrain Embossing, SPR Gina (Coore) Neilson. .12) - Photo, black & white, c1980, Hill Shade Terrain Embossing, unidentified..1P to .10P No personnel are identified. .11P and .12P annotated ‘Terrain Embossing’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is a stone castle-top bell tower beside a church building flanked by trees. A stone fence is across the front, with pedestrian and vehicle white picket gates. The title is in red print on the front of the card. There is no correspondence written on the card. The reverse has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of the Interior of the church chapel, with exposed timber beams, white arches decorated with flowers, pews with books on shelves, and organ pipes. There is text on the image. The title is in red print on the front of the card. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here” Text on the arch: "THE LORD OF HOSTS"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool, arch pillars

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Ozone Hotel, Warrnambool – Construction of Warrnambool’s Ozone Hotel and Coffee Palace on the corner of Koroit and Kepler streets began in 1890. The luxury venue included ballrooms, dining rooms, a theatre and a tower. In 1929 it burnt to the ground in a spectacular fire. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This postcard of the Ozone Hotel and Coffee Palace is significant for its connection to the Victorian-era hotel. The hotel was a luxury facility that attracted visitors to the town by sea, rail and road. The postcard also represents the short period in which the hotel operated and the notable, unforgettable event of its burning to the ground. Out of the set of nine postcards in this donation, this card is the only one that includes the location of Warrnambool on the back. It is also the only one with text within the outline for the postage stamp and with headings in this font. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of a grand three-storey building on a street corner with a tall turret, shorter turrets, and arches on the verandas. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “Ozone hotel, Warrnambool” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, ozone hotel and coffee palace, ozone hotel, warrnambool hotel, destroyed by fire, coffee palace

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Titan Bridge, Warrnambool – The name Titan Bridge is likely to be a reference to the huge Titan crane that was used in the construction of the Breakwater in the late 19th century. Shelly Beach is a popular swimming area with the added attraction of rock pools to investigate and rock formations to climb. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the Titan Bridge rock formation with figures on it suggests that the location was a popular place to visit. It captures a time when the rock formation was publically accessible. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image shows two figures, one seated and one standing, beside the sea on a rough rock beside a rock formation resembling a bridge. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “TITAN BRIDGE / SHELLY BEACH, NEAR WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, shelly beach, titan bridge, titan, rock formation

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Bay of Biscay, Hopkins River, Warrnambool – This same image was published in Table Talk on January 6th, 1910 and in The Age, on December 18, 1929, referred to a revival of fishing at the Bay of Biscay on the Hopkins River. These and similar articles showcased the Bay of Biscay as a popular boating and fishing location and well worth promoting to places outside of Warrnambool. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the figures in a row boat on the river suggests that the location was a popular place to visit. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, portrait orientation, coloured print within a rectangle border with an impressed line around the image and a title in red. The picture shows three figures wearing hats in a rowboat on the bank of a river beside cliffs. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “Bay of Biscay, Hopkins River, Warrnambool” Back in green: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, bay of biscay, fishing, boating