After the Eureka Stockade the government offered a reward for the leaders of the rebellion. Peter Lalor's name is incorrectly spelt 'Lawlor' in the poster, which suggests the correct pronunciation of Lalor.A Eureka Stockade reward poster as reproduced in Withers 'History of Ballarat'. The poster is black on white and relates to a 400 pound reward offered for Peter Lalor and Black after the Eureka Stockade. Peter Lalor is described as 5 feet 11 inches in height, age 35, dark hair, whiskers dark brown and shaved under the chin, no moustache, long face, rather good looking, and is a well made man. Black is described as over 6 feet tall, straight figure, slight build, bright red hair worn in a general rather long and brushed backwards, red and large whiskers, meeting under the chine, blue eyes, large thin nose, ruddy complexion, and rather small mouth.ballarat, eureka stockade, peter lalor, lalor, lawlor, black, william haines, haines, ballarat reform league, reward poster

28 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author. #44 
19 2 Heads are Better than 1 Judy Bourke
 22 A Dark and Merry Dance - Mona Ryder Ingrid Hoffmann Arts Writer
 28 Advertising rates
 17 Artist Statement Dragica Milunovic 
7 Art for Community Enjoyment. -
The Majura Women’s Group Project Kerry-Anne Cousins 
26 Arts Residencies in Asia 2009
 6 From Mao to Now Denise Keele-Bedford
 10 I call myself an artist. Carmel O’Connor
 14 Josie Telfer - Nine Waves Richard Perry
 18 Nature and Change Ev Hales
carmel o'connor, judy bourke, ingrid hoffmann, mona ryder, dragica milunovic, kerry-anne cousins, denise keele-bedford, josie telfer, ev hales, margaret gurney, anna glynn, lea kannar, janet goodchild chuffley, desiree radi-mansbridge, sayraphim lothian, noela stratford, sasha grishin, annette vincent, women's art library london, annette iggledon, gail stiffe, althea greenan

20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#41 Annual Report 2006 - Gail Stiffe News from the Register Gail Stiffe just a thought: - Ev Hales The Goddess's Embrace - Naomi Downie Shared Space - Gosia Wlodarczak The Bits Between - Jan Altmann Tea And Teachings - Denise Keele-Bedford 2006 Some Notes from a Canberra Correspondent - Kerry Anne Cousins Painting her way out of hell - Rhubee Neale The Women's Health Information Centre - Jacinta Waters Conrad Jupiters 2006 Art Prize - Susan Buret Opportunities Exhibitions Back issues of the Bulletin About the Register gosia wlodarczak, ev hales, naomi downie, rhubee neale, women's health information centre, susan buret, veronica caven-aldous

A Cortland American Driver tennis racquet, with string whipping on shoulders, and leather handle grip with quatrefoil perforations. Base of head on reverse features Courtland logo, and on obverse, the model name. Throat features decal of Courtland trademark, featuring stylised image of male playing tennis within a red triangle device. Shaft on obverse features a newer trademark with similar figural motif, but with a tennis ball in background instead of a triangle. Shaft on reverse features head illustration and signature reproduction of Joe Whalen. Cortland "Radio-Frequency/Resin Bonded" and "Smoke-Tone" decals feature on crown and shaft. 'C' trademark features on butt cover. Materials: Wood, Nylon, Plastic, Leather, Cloth, Ink, String, Glue, Lacquer, Metal, Painttennis

1923 Flood, Telegraph Hotel, Armstrong Street, Charlton, Victoria1923 flood - Telegraph Hotel, Armstrong Street Charlton. Obituary: Charlton 100 years ago 18-02-1922 - 24/02/1922. Mr Francis Gilbert Livingstone passed away at Castlemaine on 14th ins. He was a very well known & highly respected old resident of Charlton & Narrewillock. Until October last he held the license of the Telegraph Hotel and was a familiar figure in his wheel chair under the shade trees at land at Narrewillock, where he farmed until failing health compelled him to give up the strenuous work of those early pioneering days, and in 1892 he took the license of the Telegraph Hotel which he retained until recently. He was 61 years of age.flood, telegragh hotel, charlton, livingstone

From 1845, separate and competing volunteer fire brigades were established in Melbourne and grew in number. Following the passage of the Fire Brigades Act 1890 and the creation of the Metropolitan Fire Brigade (MFB) on 1 May 1891, the 56 volunteer brigades that then existed were disbanded and the firefighters were invited to join the MFB. The MFB was abolished in 2020 and the firefighters absorbed into the newly established Fire Rescue Victoria.White coloured rectangular shaped card printed in black on both sides. Hole in top left hand corner.Front Metropolitan Fire Brigade. The Ninth Annual Ball. Orderly Room (Corner of Albert and Gisborne Streets) EAST MELBOURNE, Friday, 11th October, 1901. MFB QUADRILLE. 1st Fig. 1st Set; 3rd Fig, 1st Set; 3rd Fig. Lancers; Spanish Waltz; Circassian Figure. JARRETT'S BAND. J. C. PRICE, M. C. Stewards: MESSRS. H. HARRISON 7 R. GLENNON W. CAVE, Hon. Sec. Back: List of dances, against which some names and initials have been written by handmetropolitan fire brigade, orderly room - east melbourne, jarrett's band, 20th century, melbourne - history

Scales were used in the Tarnagulla area of Central Victoria by Albert Charles Nicholls, who was a licensed assayer. This information comes from David Gordon of the Tarnagulla.com web-site. “The Nicholls family were very well known and highly respected at Tarnagulla in the 1800s. Albert's father, William Nicholls, was a leading figure in the gold mining community, and he both managed and owned quartz processing facilities for decades. He was probably the leading mining expert at Tarnagulla in a town full of mining experts, and it was said that no man at Tarnagulla had handled more gold over the years that him. (think in terms of tons of gold!) I would imagine the assaying equipment was probably passed in due course by William to Albert Charles. There are records of Albert Charles mining at Tarnagulla with his father as a young man, but AC apparently came down to the city when the gold began to fade. There are records of him living in Kew up until his death in 1932. He was employed as a draper for a long period.” This item is a significant item which is part of the history of gold mining in Victory.Gold assayer's scales, a very sensitive balance used in the assaying of gold, silver, etc.The scales are comprised of two circular brass pans suspended via brass chains to a metal balance.scales gold technology assayers tarnagulla

These items, 1930s bank books belonging to Michael Toohey, a Woodford farmer, come from the estates of the Ardlie family of Warrnambool and appear to have been stored amongst the office material of the prominent Warrnambool lawyer, William Ardlie (1843-1933). He was the son of pioneer Warrnambool settlers, John and Mary Ardlie. William Ardlie established a legal practice in Warrnambool in 1867, initially in partnership with George Barber. Ardlie was a dominant figure in legal and community circles in Warrnambool and continued with his legal practice until the early 1930s. The bank books were issued by the Commercial Banking Company of Sydney. A Warrnambool branch of this bank was established in 1927 when it acquired the Bank of Victoria. The Warrnambool branch of the Bank of Victoria at 92 Liebig Street then became the Commercial Bank of Sydney. In 1958 the bank building was demolished and new premises were built. In 1981 the Commercial Bank of Sydney merged with the National Bank of Australia and traded as the National Bank in the building at 92 Liebig Street until the premises were closed in 1985.These items are of minor interest as mementoes of the Warrnambool branch of the Commercial Banking Company of Sydney..1 A bank book with a hard black cover and pages containing ruled black lines. The cover has a white label pasted on. This has black printing and handwriting. The pages contain handwritten debit and credit entries. .2 A bank book with a soft black cover and a white label pasted on. This label has black printing and handwriting. The pages have ruled red lines, some entries in black handwriting and some bank stamps. Most of the pages are unused. Mr M. Toohey Michael Toohey Woodford commercial banking co of sydney, warrnambool branch, michael toohey,, woodford farmer, history of warrnambool

Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat. The sculpture 'Alan marshall' has been classified as of regional significance by the National Trust of Australia. A realistic depiction (almost life size) of Alan Marshall cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. alan marshall, bronze, skipper, i can jump puddles, eltham library, novalist, ekphrasis2017, figure, public art

This bell was used to begin and end recess and lunch breaks at Strathmore Williamstown Grammar School. It was introduced by Mabel Martha Molland, Principal (1914 - 1963) and was in use at the Williamstown campus until the installation of an electronic bell system in the early 2010s. It is known at the school as 'Miss Molland's Bell' and was featured in The Old School Tie exhibition at the Old Treasury Museum in 1999. The exhibition label for the bell read, 'This bell has been used to summon students to class for as long as anyone can remember, although it is reported that in Mr. Gerity's time (1897-1914) classes were "signalled by Gerity appearing at the door and waving an enormous white handkerchief the size of a bed sheet" (Reported in Johnson, J. 1987, The Westbourne and Williamstown Grammar Schools, pg. 37)'. The bell has historic significance as it originated with Mabel Molland, Principal (1914 - 1963), a very prominent figure in the history of the school and has been handled and used by countless students, assigned the coveted task of ringing the bell, over many years.Brass bell with a turned wood handle. The are five parallel grooves near the top of the handle and two near the middle. The bell has two parallel grooves around the fluted sound rim. The clapper is attached, with a twisted piece of 1mm diameter single strand wire, to a d-ring inside the head of the bell. mabel molland, strathmore grammar, school bell

Jacqueline SLAYMAKER This work was undertaken in 1992 when Jacqueline Slaymaker was a 3rd Year student at Ballarat University College. The catalogue for the End of Year exhibition in 1992 states "The figures importance is purposeful. The strong sculptural form of the torso, tensions of the skin and volume are the aspects I focus on. Drawing is vital to my painting. The heavily layered works that I sand, scratch and rub back into eventually resolve some of the problems associated with painting. I believe this constant re-addressing creates a sense of history and building a texture creates a sense of history and build up of texture illustrates the concrete solid way I see the figure. I draw resource from ancient sculpture in particular Etruscan coffins and tomb wall painting. More recently I am interested in the draftsmanship of Jim Dine and monoprints of May Frank.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed life painting of a female nude. art, artwork, jacqueline slaymaker, nude, life study, oil on canvas, alumni, end of year exhibition

This brand of starch was first manufactured in 1914, during the First World War, and continued to cover the other wars and military conflicts that followed. It was a time when Australian made was important due to the limited supplies coming from England and Europe. This was a period when the demand for "home grown" produce was at its peak. This was in a time when by necessity not by the "Buy Australian" campaign (of later years) which was the major factor for the demand of goods. It was in a time when starch was used in formal clothing to put a "crisp" or fresh new appearance for clothes. The important social more of "clothes make the person" was in vogue. This is a sample box provided by the manufacturer as an advertising and promotional method of prospective customers becoming aware of the product. This type of promotional avenue brought results and ensured that this type of advertising and inducement by manufacturers would be ingrained as a lasting avenue through to the 2nd Millennium This box which once contained starch powder is very significant to a rural semi isolated region because it clearly demonstrates that the social mores of the city were also entrenched into the rural population. The fashion of the day, even in remote areas, especially rural, were still a requirement to be maintained on certain special occasions. Cleanliness and stiff "upper lip" persona were just as important in the rural sector as in city and Government circles. Institutions such as hospitals, Government Offices and the legal personnel were bound by the fashion of the starch appearance (no dirt sticks to a personage with the "starch" look). Appearances, especially the first ones, were the judgmental image that remained in the uppermost regions of the viewer.This box with white writing and a "formally clad" man on a navy blue background held Australian grown maize based starch powder(1 LB gross). The package is made from 200 gsm thick cardboard. As production was made during the two World Wars 1914 to 1945 the promotion was heavily focused on Australian made and Australian grown maize.The front(has "Sample" on top) the rest inscriptions are the same on each cover both and back, "DANDY" below this a figure outlined in white on a navy blue background "hat and tails" outfit. Next to the sketch in smaller lettering" STRONGER THAN OTHER STARCHES. LESS REQUIRED". Below the figure "GLOSS" and below this in larger print "STARCH". Below this and in smaller print "CONTENTS. NETT WEIGHT 14 1/2 ozs" Below this and in smaller print "MANUFACTURED BY MAIZE PRODUCTS PTY LTD FOOTSCRAY VICTORIA" On one side of the box and in large white print on royal blue background"PURITY, STRENGTH AND UNIFORMITY." On the other side are the manufacturers directions. On the left side "FOR RAW STARCH" Underneath and in smaller print,"Dissolve in warm water a quantity to give the required thickness. Add bluing if required Stir before each using. On the right side "FOR BOILING STARCH" underneath this in small print"Mix well in small quantity of cold water to creamy consistency. Add boiling water, and stir constantly while cooking. Allow to cool, and add blueing if required. Underneath these two sets of instructions is "Make your consistency thinner than if using another kind of Starch"household starch, household cleaning, domestic laundering.

This print of Christ is slightly smaller than the original 1927 oil painting by Herbert Beecroft, which is titled “Christ” and measures, in centimetres, 60 high by 50 wide. The original is displayed at John Wesley’s House & The Museum of Methodism in Islington, England. The title of the print is taken from the Holy Bible, from the New Testament book of Luke, chapter 22 verse 61, which is a famous Christian account of Jesus being betrayed by Peter, which leads to Jesus’ crucifixion; “And the Lord turned, and looked upon Peter. And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice.”. The print was published in 1942 by the National Sunday School Union in England, now known as the National Christian Education Council. The NSSU was established in Britain in 1803 to promote Sunday Schools in Britain and overseas. The organisation produced many publications including training manuals and materials for Sunday School teachers. Herbert Beecroft 1864-1951, also known as Lawrence Herbert Beecroft, was an early 20th-century artist. He and his wife emigrated from England to Sydney, Australia, in 1905. He worked as a painter, illustrator, miniaturist ‘lightning cartoonist’, and lecturer. From 1927 Beecroft painted a series of portraits of Jesus Christ, prints of which made many worldwide sales. He entered a miniature portrait in the 1921 inaugural Archibald Prize competition. It was one of forty-one entries but the title was unknown. It is highly probable that it was JF Archibald, the person who endowed the prize, first awarded in 1921. This print of Christ, originally painted by Herbert Beecroft, represents the social movement in the early 20th century to educate all children in good morals and Christianity.A religious portrait of the artist’s impression of Jesus. The print is in a gilt timber frame behind glass. The frame has eyelets and wire for hanging. The backing paper lifts to reveal a handwritten pencil inscription. The portrait shows a male figure from the waist up facing the viewer but turned slightly to his right. He has long wavy blond hair, a moustache and a beard. He wears a blue-grey robe over a collarless white shirt. The background is red-brown. It is the artist’s impression of Jesus. The whole frame-mat has script text above and below the print, giving its title, and details of the publisher and producer. This print was produced from an original 1927 oil painting by Herbert Beecroft. It was published in 1942 by The National Sunday School Union in London and produced by Frost & Reed Ltd. England. Handwritten script on the mat; “Published in 1942 by the National Sunday School Union, 4 Black Friars Lane, London, EC4. Produced by Frost & Reed Ltd., Bristol & London. Printed in England. Copyright.” and, “The Lord turned and looked upon Peter … and Peter remembered” Signature on bottom left “Herbert Beecroft” In pencil on backboard under back paper “H 89 / 12”. Pen on white tape “155”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, print, religious, vintage, 1942, herbert beecroft, lawrence herbert beecroft, archibald prize winner, early 20th-century, artist, oil painting, luke 22:61

Enduron (methylclothiazide) was a diuretic used to treat high blood pressure and fluid retention. Its use has been discontinued. This object was likely produced as a promotional item by the manufacturers of Enduron.Porcelain figurine of a doctor holding a baby. The doctor has brown hair, is of male appearance, and is dressed in surgical attire, consisting of a white surgical gown and cap. There are some areas of blue detailing on the gown. Blue trouser cuffs and black shoes are visible below the gown. The doctor is holding a baby by its ankles in his left hand, and is holding his right hand against the baby's bottom. The baby is facing to the side, head pointing towards the ground. The figure is standing on a square plinth. Writing printed on the front of the plinth reads 'OBSTETRICIAN/"I just delivered/a president." Writing printed on either side of the plinth reads 'ENDURON/methylclothiazide'. Writing printed on the back of the plinth reads 'ABBOTT 1972'. Sticker attached to underside of statue reads 'THE COBID CORP'.obstetrics

William Ward 1820- 1908 was born in Norfolk and emigrated with his wife Ann Ostler aboard the SS Kent in 1853. The voyage took 77days. William Ward JP was a prominent figure in East Brighton . William was elected to the Moorabbin Road Board in 1863, JP at Cheltenham Court, and Shire President 1875-82. He was appointed Post Master at East Brighton in 1865 and held the position until his death in 1908. William's Municipal career extended over 30 years and the 'Southern Cross Newspaper Brighton paid him tribute in the obituary January 25th 1908. William and Anne Ward had 10 children but only 5 survived. Elizabeth Emma Ward 1963- 1921, their eldest child, married Henry Box 1839-1913 and they had 9 children but 2 died in infancy. Henry Box purchased land in Tucker Road East Brighton (Bentleigh) 1870 to establish a market garden . He continued to purchase property through out his life and when he died owned land in East Boundary Road, Elsternwick, and Murrumbeena.William Ward JP was a prominent figure in East Brighton, William was elected to the Moorabbin District Road Board in 1863, JP at Cheltenham Court, and Shire President 1875-82. He was appointed Post Master at East Brighton in 1865 and held the position until his death in 1908. William's Municipal career extended over 30 years and the 'Southern Cross Newspaper Brighton paid him tribute in the obituary January 25th 1908.A black and white photograph of William Ward JP, Councillor who was the father of Elizabeth Emma Ward the wife of Henry Box.nil

This book contains a collection of literary works written by William Shakespeare. Shakespeare was an English playwright, poet, and actor, widely esteemed as the foremost writer in the English language and the world's premier dramatist. Often hailed as England's national poet, his surviving works comprise around 39 plays, 154 sonnets, three lengthy narrative poems, and a handful of other verses, some of which are of uncertain authorship. His plays have been translated into every major living language and are staged more frequently than those of any other playwright. Shakespeare remains arguably the most influential figure in English literature, with his works persistently reinterpreted and reimagined. Ruyton Girls' School has a long tradition of awarding prizes to students at annual "Speech Night" events. Speech Night at Ruyton is an extraordinary occasion. It is a time when we gather to celebrate both the year just lived and the contribution of our Year 12 girls to the life of our School. It is a night of stirring student speeches, acknowledgement of student endeavour and excellence and awe-inspiring performances by School choirs and ensembles. The record has strong historic significance as it was awarded to a former notable student, Helen Gordon (maiden name Cole). Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. This historic significance is further enhanced by Ruyton's bygone "Shakespeare Night" tradition. A celebration of ‘culture’, and a chance to enjoy some ‘fun and games, cakes and ale’, were the motivation behind Ruyton’s annual Shakespeare Night party, led by longstanding Principal Miss Hilda Daniell. In her book, "The History of Ruyton 1878-1956", she describes how the yearly tradition began in 1915, just two years after she took over the role of Principal. That first Shakespeare Night, the senior girls and other guests gathered in the School’s chrysanthemum-filled dining room for music, games and supper. Such fun was had that the festivities became an annual event and was one of the coveted privileges of being one of Ruyton’s older girls. The Night was always held as close and possible to April 23rd, which is the date of William Shakespeare’s death, and the approximate date of his birth. Senior girls and some staff and parents would be invited to a party in the School. There, Shakespearean songs were sung, his poetry recited, and scenes from his plays were acted. Sometimes a competition was held to see who could recognise the largest number of quotations. In other years all the attendees would dress as Shakespearean characters. In a nod to a minor character from ‘A Midsummer Night’s Dream’, Senior teacher Miss Dorothy Derham famously came disguised as a lion one time, and no one knew who it was until she dramatically removed her mask at the end of the evening. Whatever the programme, the Night always drew to a close with a delicious supper that included a spectacular birthday cake especially in honour of the Bard. (Accompanying it may have been the ‘ale’ of Miss Daniell’s description, though of course it was presumably of the ginger rather than the alcoholic variety.) The evening was complete when ‘God Save the King’ and ‘Auld Lang Syne’ were sung. Shakespeare Night was held almost without interruption from 1915 to at least the mid 1950s. Only in 1919, with the threat of Spanish Flu, did the Night get cancelled. Later, fear of Japanese invasion in the Second World War years, and the consequent black-out restrictions, turned the ‘Night’ into an afternoon event. Thankfully, Miss Daniell notes, "from 1944 the programmes could be given as usual", though as we now know, it was a School tradition that eventually faded away. The record's significance is also supported by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Navy leather hardcover bound book with gold detailing on front cover and spine. 1,164 pages.Front Cover: R / RECTE ET FIDE LITER / RUYTON / Spine: SHAKESPEARE'S / COMPLETE / WORKS / OXFORD / Inside Cover: R / RECTE ET FIDE LITER / RUYTON / PRIZE / AWARDED TO / Helen Cole / FOR / Latin / VB / H. Daniell. / 9th Dec. 1949 / Katie Alsop Memorial Prize /ruyton girls' school, school, students, prize, speech night, poetry, lord tennyson, queen victoria, senior school, high school, ruyton, old ruytonians' association

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

"On 5 July 1936, locals in Melton South saw a plane emerge from behind clouds above the railway station, in heavy wind and rain. Engine roaring, the plane went into a spin and disintegrated into pieces in mid-air, before crashing to the ground near Arnold’s Creek. The pilot, young Australian aviator Jimmy Melrose, and a passenger, Alexander Campbell, were killed.Jimmy Melrose was a popular figure in international aviation, having been the youngest and only solo pilot to finish the London to Melbourne Centenary Air Race in 1934. His death, at the age of just twenty-two, caused an outpouring of sorrow. He was honoured with a state funeral two days later at St Paul’s Cathedral in Melbourne, which was attended by thousands of people. Locals Maisie Arthur, Ted Wickham and Bill Cahill gave eyewitness accounts of the accident to the authorities, and an inquest found that it was the result of structural failure and poor weather. A cairn erected by locals near the scene was reconstructed by the Melton and District Historical Society in Brookfield, opposite the Melrose Memorial Reserve, on the 40th anniversary of the crash in 1976".Regional Gazette article of a cairn erected by locals near the scene of the plane accident which involved Jimmy Melrose, and passenger, Alexander Campbelllocal significant events, landscapes of significance

Ticket and notice about the Dedication of the Forecourt by The Queen, possibly kept as souvenirs by a Legatee. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as the symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Ticket for admission and notice about Etiquette for the Dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

The highlights report in 2004 was published as the 81st report from the President. George MacKenzie was the incoming president to replace Geoff Ward. Ron Barassi promoted the 2004 Badge Appeal which achieved a record figure of $411,500. He had included a trip to Werribee Park Zoo and was photographed with the lions (see item 00. Up to the 1980s the annual report would usually contain pages containing the Presidents report and photos of significant events of the year. Between 1987 and 1990 these were published in a separate document called 'Highlights from the Annual Report'. This could be used in promoting Legacy in different ways, without all the financial information normally held in an annual report. In following years it became called 'Report from the President' then 'Highlights from the President' in 2004, before becoming 'Melbourne Legacy Highlights' which was published twice a year from 2007. It was eventually renamed, 'The Torch, Melbourne Legacy Highlights' in 2012. 'The Torch' is still published twice a year. Other annual reports in 00027, 01095, 01096 and 01097, 01098, 01310 and 01311. A record of the annual reports of Legacy Melbourne, including activities and telling stories of Legacy's impact.Colour printed president's report from 2004 x 8 pages with photos, published annually.annual summary, activities

Part of the "Robert H. Baron", No. 3596 and Cooper Collection. See Cat, No. 1981P for details of Baron's service.1. Black and white photograph featuring burning and destroyed buildings. 2. Black and white photograph featuring horses and wagons with uniformed handlers. Ruined buildings in background. 3. Black and white photograph featuring a shell damaged two story building. Splintered trees in foreground. 4. Black and white photograph of a WW1 battlefield. Three waterfilled shell holes in foreground. Soldiers in background on horizon. 5. Black and white photograph of three soldiers in uniform standing next to a ruined cannon. 6. Black and white photograph of three soldiers in uniform standing next to the barrel of a canon. Soldier in uniform inside the mouth of cannon. 7. Black and white photograph of the surrounds of a ruined building. Statue of a human figure surrounded by metal fence in foreground. 8. Black and white photograph of a bomb damaged church. Rubble in foreground.1, Handwritten in black on front bottom and on back in pencil: 'Fritz Burning village of Ham before leaving.' 2. Handwritten in black on front bottom and on back in pencil: 'Entrance to Langacourt.' 3. Handwritten in pencil on front and back: 'Langacourt Chateau.' 4. Handwritten in black ink on front and in pencil on back: 'Passendaele Ridge.' 5. Handwritten in black ink on front and in pencil on back: 'Captured gun at Cappy.' 6. Handwritten in black ink on front and in pencil on back: 'Cappy.' 7. Handwritten in pencil on front and back: 'Bullecourt Church.' 8. Handwritten in pencil on front and back: 'Viller Brettoneaux Church.'robert h. baron, cooper collection, postcard, ww1, france, battlefields

This atlas, printed in 1944, details not only the geographic and political boundaries of the world as it was at that time but also the snap shot of life of the time. This snap shot in time covers the major Australian cities, the major farming, grazing, industrial and sporting/recreational activities. Also there are snap shots of similar activities from other global areas. The period also covered World War II, detailed by a photo of "shell making", munitions, required by Australian soldiers. The great political and territorial changes made as a result of World War II can be clearly identified for example , Israel (the Jewish homeland). The various prewar colonies of major European nations.This atlas was used by children of a Kiewa Valley family and shows the value and the general educational exposure that these children had at this time. The rural setting and within the backdrop of a world war did not severely alter the life style of children in this region. The "news reels" shown in cinemas of cities and larger towns were the only visual realisations of major events of global significance available to these children. The information provided by this atlas allowed students to glimpse at what the "outside world" was. The majority of these students would possibly never see these regions for themselves. The great communication facilities of the late 1900s and beyond, was still only science fiction.This atlas has a thick (350 g/m) red cardboard cover with bold black lettering and shading. The cover is set out within a shield like frame. The shield is held up by two square markings, each with a four part circular pattern and a cord entwining two pendulum structures ending with a bowl figure at the bottom. There is a semi circular form enclosing a printed book contents list. The inside cover has the atlas title and contents and the publisher details. The atlas contain 56 pages of world and Australian maps, vegetation and rainfall maps. Within this atlas there are 27 double sided pages of black and white photographs depicting life styles, buildings, landscapes and prominent and significant to Australia males from 1652 to 1944. The pages are of approximately 200 g/m and have the yellow aged appearance.On front cover "Philips' Australian COMMONWEALTH ATLAS" and underneath "Containing" underneath "60 PHYSICAL, POLITICAL AND ECONOMIC MAPS". Publisher George Philip & Son, Limited 32 Fleet Street, London E.C. 4. Inside cover are: written, in freehand and in ink the following names and dates; "J.Muller Form V 1945", "L L Muller Form IV 1946", "N.J. Muller Form I + II + III 1948 +49 + 50" and "D Muller Form I 1949". also handwritten and in pencil is "Peter Leslie". On the last page is a small freehand sketch of Australia in biro.1940s school curriculum, rural education, 1940s atlas, australian atlas

28 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#43 3 News from the Register Gail Stiffe July 2008
25 Nude Margaret Gurney
5 Parallel Dreams Anna Glynn
24 Reflection Helen Clancy and John Bainbridge
13 Success for one of our members Lea Kannar
9 Tin Sheds Gallery, Malmsbury Janet Goodchild-Cuffley and
Desiree Radi-Mansbridge
26 Totem Sayraphim Lothian
12 Travelling: Time, Place and Translation:
1 998 – 2008 Noela Stratford
19 Warringah Printmakers Sasha Grishin
21 Water Ghosts Annette Vincent,
15 Women’s Art Library Gail Stiffe and Althea Greenan
7 Words and Images Annette Iggledonmargaret gurney, judy barrass, kate hendry, jan delaney, irina kuzminsky, ramona barry, kevin murray, ellen michel, francesca mataranga

Ansonia Clock Company, Bobbing Doll Clock, Jumper No1, silver plated case and stand with ornate decoration, drum clock with time only Ansonia movement, hand wound from back, white paper dial with black Roman numerals, black spade hands and a subsidiary seconds dial and Ansonia brand with Patented Dec 14th 1886 & printed across bottom Ansonia Clock Co Sole Manufacturers New York USA. Spring driven brass movement is driven by a bouncing bisque china figure of a Cherub on a swing suspended from a spring, inside the back cover is a paper label which reads " I started to wind this clock on the 17th October 1922 Doug Pain" the clock was used in the shop window of Pains watchmaker corner of Pall & Victoria Lane Bendigo, Bruce Pain (Donor) was apprenticed to his Father Doug.Ansonia Clock Co New York USAhorology, clocks, ansonia

Vellum Certificate of Admittance to the Free Masonry of the United Grand Lodge for Carl Mueller, dated 30 March 1871. At the top of the certificate is crest with a lion wearing a crown on the left and a unicorn with a chain on the right of a circle divided into quarters, two of the quarters have three lions in them, the third has one lion standing on one leg, and the fourth has a human like figure with wings. Above the circle is a crown with a lion standing on it and an elephant on each side. Around the edge of the circle is ' Honi Soi -- Mal Y - - E (parts are obscured by the animals legs and a helmet between the circle and the crown. Underneath is printed ' Dieu Et Mon Droit'. Under the main headings are three columns spaced across the page with, on the left, the details of the admittance and on the right are the details in Latin. In the left margin is the Mason Seal. Between the columns are various tools? boxes and two spheres. Certificate No. 1730.organization, club / society, freemasonry - lodge, certificate of admittance to free masonry, carl mueller, zenith lodge no 1133 sandhurst, brothers warrington london

The Milton Shield was given to the College in 1968 by the eminent Sydney surgeon Conrad Blakemore (1898-1976), whose family had owned it for almost 100 years. There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London.There are three known examples of this Shield in Australia. They are electrotype reproductions made by Elkington & Co. of an original created by Léonard Morel-Ladeuil between 1864 and 1866, and exhibited in Paris at the Exposition Universelle of 1867. The original is made of silver and damascened iron, measures 880mm by 630mm, and is now in the Victoria & Albert Museum in London. The Shield is oval in shape, and is divided into several fields, each of which shows a different scene. The entire surface is covered in floral and animal decoration, and patterns. A cable moulding runs around the outer edge. The College’s Shield is set in a heavy timber frame bordered with red velvet and glazed.The central area is circular, depicting the archangel Raphael telling the story of the war in Heaven to Adam and Eve in the Garden of Eden. Immediately below this is the figure of the archangel Michael trampling on the defeated Satan. At the bottom of the shield are two figures representing Sin and Death. On either side of the central circle is a kidney-shaped field, the one on the left showing the army of the rebel angels assaulting Heaven, and on the right the fall of the rebel angels. At the top of the Shield are figures of cherubim and seraphim. The name of the Shield derives from the scenes on it, illustrating episodes from Paradise Lost by John Milton (1608-1674). Presented by Conrad Blackmoremilton shield, conrad blakemore, 1968