The Hedge, aka Thomas Knee's house. Thomas Samuel Knee (born c. 1881in Lilydale) married Jane Maggs c. 1912, Thomas Samuel Knee's father Thomas Knee (married to Sarah Hardidge and who it appears was also an orchardist in Yarra Road) was rated for the land as vacant land at the turn of the century (c. 1900) Thomas Samuel Knee rated as owner of vacant land (CA14B of over 20 acres1911-12 and as a house 1912-13, next year CA 14C added making a total of 39 acres. It appears that Thomas Samuel Knee and his wife Jane lived at the property until 1949 when they moved to Montrose. In 1949 it was purchased by Hubert Victor (Vic) Eggleton after they migrated from Banstead in Surrey England. They had four boys Peter (who did a lot of the farming with Gladys), Brian, Michael and Roger. It was mixed farming: lemons, cherries, eggs, chickens and Gladys bred Spaniel dogs too. They had 2 dairy cows and a draft horse. The farm was larger then and was subdivided at a later date. The big dam was added too. the painting of the house was painted by a cousin of the Lusks. Ownership: Thomas Samuel Knee 1912-1949, Eggletons, 1949 - c.1953, then Timms, c. 1953 - early 1970s then Lusks early 1970s to c. 2012. The Lusks built a new house and after that the old house had various tenants.

The Hedge, aka Thomas Knee's house. Thomas Samuel Knee (born c. 1881in Lilydale) married Jane Maggs c. 1912, Thomas Samuel Knee's father Thomas Knee (married to Sarah Hardidge and who it appears was also an orchardist in Yarra Road) was rated for the land as vacant land at the turn of the century (c. 1900) Thomas Samuel Knee rated as owner of vacant land (CA14B of over 20 acres1911-12 and as a house 1912-13, next year CA 14C added making a total of 39 acres. It appears that Thomas Samuel Knee and his wife Jane lived at the property until 1949 when they moved to Montrose. In 1949 it was purchased by Hubert Victor (Vic) Eggleton after they migrated from Banstead in Surrey England. They had four boys Peter (who did a lot of the farming with Gladys), Brian, Michael and Roger. It was mixed farming: lemons, cherries, eggs, chickens and Gladys bred Spaniel dogs too. They had 2 dairy cows and a draft horse. The farm was larger then and was subdivided at a later date. The big dam was added too. the painting of the house was painted by a cousin of the Lusks. Ownership: Thomas Samuel Knee 1912-1949, Eggletons, 1949 - c.1953, then Timms, c. 1953 - early 1970s then Lusks early 1970s to c. 2012. The Lusks built a new house and after that the old house had various tenants.

The Hedge, aka Thomas Knee's house. Thomas Samuel Knee (born c. 1881in Lilydale) married Jane Maggs c. 1912, Thomas Samuel Knee's father Thomas Knee (married to Sarah Hardidge and who it appears was also an orchardist in Yarra Road) was rated for the land as vacant land at the turn of the century (c. 1900) Thomas Samuel Knee rated as owner of vacant land (CA14B of over 20 acres1911-12 and as a house 1912-13, next year CA 14C added making a total of 39 acres. It appears that Thomas Samuel Knee and his wife Jane lived at the property until 1949 when they moved to Montrose. In 1949 it was purchased by Hubert Victor (Vic) Eggleton after they migrated from Banstead in Surrey England. They had four boys Peter (who did a lot of the farming with Gladys), Brian, Michael and Roger. It was mixed farming: lemons, cherries, eggs, chickens and Gladys bred Spaniel dogs too. They had 2 dairy cows and a draft horse. The farm was larger then and was subdivided at a later date. The big dam was added too. the painting of the house was painted by a cousin of the Lusks. Ownership: Thomas Samuel Knee 1912-1949, Eggletons, 1949 - c.1953, then Timms, c. 1953 - early 1970s then Lusks early 1970s to c. 2012. The Lusks built a new house and after that the old house had various tenants.

Sold as a souvenir of Mt Buffalo. 'Souvenirs in relation to the Chalet and Mount Buffalo were first mention in December 1912... A large range of souvenirs has since been associated with the Chalet and Mount Buffalo from crafted wooden items, silver spoons, cups etc... The collection includes a broad selection of products that have been sold throughout much of the Chalet's history, each representative of the transient fashions of their period.' (Pg. 114. Historica) "Souvenirs in relation to the chalet were perhaps first mentioned in December 1912, when enterprising locals, Mr J Pass of Porepunkah and Mr C Walker asked for permission to use timber on the mountain for making ornamental souvenirs . The government was agreeable to the ide and soon afterwards PWD chief architect George Austin went to Mount buffalo to make arrangements for supply of the timber, They proposed to make wooden egg cups, small boxes and photograph frames to sell to tourists, small items that' will serve as an advertising medium of the famous mount'" (Pg. 113.Historica) ' Fig 123. Bookends MBC0319,serviette rings MBC0217.2,eggcup MBC0218 and ashtray MBC0205 made of mulga, a wood from particular types of wattle tree that grow in arid climates. Souvenirs crafted from mulga became popular in the post WW2 years' (Pg 117. Historica) Purchased in a second hand shop and donated to MBC. Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Souvenirs. (Pg 168. Historica).Two matching mulga wood book ends. They form a sphere when placed together. Hand painted motif and inscription on each. Painting of a skier dressed in colourful clothing on each and "From Mt Buffalo" painted at the base. "From Mt Buffalo"

A note that Legatee Frank Doolan wrote to capture an encounter with a widow. "Mrs Nora Sennett, a cousin of the late Sir Stanley Savige recently wrote to enquire of the whereabouts of the oil painting which had been presented by her late husband to Legacy on the occasion when Stan Savige had opened an exhibition of his work in the Athenaeum Gallery. Mrs Sennett was visited at her new domicile in the MECWA block of single units in Warner St Malvern, and was assured that the painting was well cared for and was hung in a prominent place in Melbourne Legacy Comradeship Corner. She is one of our senior widows now aged 87, and was one of a family of five girls, all of whom are still living and who were one of the early families of Korumburra. Mrs Sennett explained how her late husband, who served with the 39th Battalion (EGGS ARE COOKED) was with General McNicoll on the site of the painting at Passchendaele. and the General remarked that he should paint the scene some day. It certainly captures the atmosphere of devastation caused by artillery barrage, and emphasises the duck boards which were initiated by the AIF to help communication over the blasted terrain of mud, and shell holes of Flanders Fields. FJD' Was with other memorabilia that has come from Frank Doolan from both his war service and his time with Legacy. He was on the archive committee and made attempts to collate the history of Legacy. This note shows that there was a painting of Passchedale painted by Stan Savige's cousin and donated to Legacy. Plus Legatees were still visiting the widow of the painter in 1974.A note x 2 pages written by Frank Doolan about a visit to a widow.Report is handwritten. In top right corner 'Report from L/tee F. Doolan Feb 1974' is in red type.world war one, legatee

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

Blue Voting paper with Borough of Tarnagulla printed at the top. Candidates' Names are George Barlow, Thomas Bayliss, John Beynon, Thomas Henderson, William Herd Voting directions at the end of page. White paper titled Ballot Paper School District of the Borough of Tarnagulla. Candidates' Names are Henry Charles Bristol, Robert Harrison Burstall, Edward Buckley, Thomas Comrie, James Clouston, George Minto, and Thomas Scorer. Voting Directions printed at the bottom of page. Printed by John Ferres, Government Printer, Melbourne. Another piece of paper has Mr Cra? Goldfield's Historical Society written on it. Typed on another piece of paper is: These two ballot papers were found in the Tarnagulla Town Hall before its reconstruction this year. Apart from a few records in possession of the Goldfields Historical Society the Tarnagulla Borough Records were pulped during the war. The ballot paper for the School District is an election for a School Board of Advice in 1873 (the first election under the Act). The Voting paper is for the Borough Council, date unknown but it was not (underlined) the first election. With compliments of the Goldfields Historical Society per their Curator John J. Alderson. 11/4/61By Authority John Ferres, Government Printer, Melbourneevent, official, civic, ballot papers tarnagulla, tarnagulla town hall, goldfields historical society, tarnagulla borough records, school board of advice, john j alderson, henry charles bristol, robert harrison burstall, edward buckley, thomas comrie, james clouston, george minto, thomas scorer, george barlow, thomas bayliss, john beynin, thomas henderson, william herd, john ferres

Farm Lease dated 5th July 1957 between Mr. N. E. Watts and Mr. E. W. Traeger. Lease for all that piece of land being allotment 15B section 7 & allotment 15J & 15H of section 7, Parish of Neering in the state of Victoria containing 7 acres 14 perches or thereabouts with dwellings, out-houses and all improvements for the term of 1 year. Terms and conditions: the term of tenancy shall be from the 8th of July 1957 to the 8th July, 1958; the rent for said period shall be 5 pounds fortnightly, the lessee has the option of leasing the property for another 12 months at the same rental; the lessee has the option of purchasing the said property for the sum of 1,350 pounds. Chattels included: 1 draught horse, harness and swings, rubber tyres cart, green feed cutter2,30 dozen egg boxes, 3 ladders, tomato frames and glasses, single furrow plough, set harrows, cultivator, iron spike roller, scuffler, linos, blinds and curtains, ice chest and table. Lessee's copy.organization, business, h.a. & s.r wilkinson real estate

Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events

The Ballarat School of Mines Annual Report 1891. Annual Report, Crown Grant, Affiliation Statute, Constitution, Examination Statutes, Associateship of The School, Certificates Granted by the Council, Clunes Branch Report, Departmental Expenditure, Fees, Form of Bequest, Gauge-Testing Apparatus, General Balance Sheet and Liabilities and Assets, Honorary Correspondents, Life Governors, Meteorological Observations, Number of Students attended The School of Mines, Office Bearers, Practical Treatment of Ores, Report of the Professor of Mineralogy and Geology and Curator of the Museum, Report of the Superintendent of Laboratories, Report of the Lecturer on Engineering and Surveying, Report of the Lecturer on Mathematics, Report of the Lecturer on Electrical Engineering and Telegraphy, Report of the Lecturer on Botany, Report of the Lecturer on Geometrical and Freehand Drawing, Report of the Lecturer on Materia Medica and Physiology, Report of University Classes, Report on Mining Laboratory, Examinations Held, Scale of Charges for Assays and Analyses, Statement of Receipts and Expenditure for the year 1891 and Special Trust Funds, Statistics - Students attending Lectures, Subjects and Lecturers, Subjects and Examiners, Subscriptions and Donations from 1st January to 31st December 1891, Syllabus of Lecture CoursesThe Ballarat School of Mines Industries and Science Annual Report, 1891. Cover is browning around the edges, front cover has small tear on bottom of cover, 132 pages. ballarat school of mines, annual report, andrew anderson j.p. - president, f. j. martell - vice president, r. denham pinnock - vice president, rivett henry bland - trustee, the hon. sir w. j. clarke - trustee, the hon. john warrington rogers - trustee, james oddie - trustee, the hon. henry cuthbert - honorary solicitor, c. eyres - honorary treasurer, charles kent - auditor, andrew berry - registrar, f. m. krause - professor of mineralogy and geology, and curator of the museum, alf. mica. smith - chemistry, metallurgy, natural philosophy, f. m. krause - geology, mineralogy, geological surveying, j. h. horwood - lecturer on engineering and surveying, h. j. hall - lecturer free-hand and model drawing, george day - botany, j. f. usher - materia medica and physiology, c. w. wilson - university classes, isaac jaques jones j.p., mr e. wattis - manager, mining laboratory, j. a. dawson - electrical engineering and telegraphy, elder gray, harry e. sando, charles matthews - auditor, j. h. daley - auditor, henry crone - assistant registrar of titles, henry b. loch, isaac jacques jones, charles eyres, j.a, j.a. dawson, statistics, university classes, bella guerin, c.w. wilson, clunes branch of the ballarat school of mines, w.e. burbridge, h.j. hall, museum, state school students, daniel walker, a.j. higgins, state school science classes

The Ballarat School of Mines Annual Report 1893. Annual Report, Examination Papers, Associateship of The School of Mines, Syllabus for Technical Schools, Crown Grant, Affiliation Statute, Certificates Granted by the Council, Clunes Branch Report, Departmental Expenditure, Fees, Form of Bequest, General Balance Sheet and Liabilities and Assets, Honorary Correspondents, Life Governors, Meteorological Observations, Number of Students attended The School of Mines, Office Bearers, Practical Treatment of Ores, Report of the Professor of Mineralogy and Geology and Curator of the Museum, Report of the Superintendent of Laboratories, Report of the Lecturer on Engineering and Surveying, Report of the Lecturer on Mathematics, Report of the Lecturer in Mechanical Drawing, Machine Construction and Design, Report of the Lecturer on Electrical Engineering and Telegraphy, Report of the Lecturer on Botany, Report of the Lecturer on Biology, Pharmacy, Materia Medica, Report on Mining Laboratory, Examinations Held, Scale of Charges for Assays and Analyses, Statement of Receipts and Expenditure for the year 1892 and Special Trust Funds, Statistics - Students attending Lectures, Subjects and Lecturers, Subjects and Examiners, Subscriptions and Donations from 1st January to 31st December 1892, Syllabus of Lecture Courses6188: The Ballarat School of Mines Industries and Science Calendar and Annual Report, 1893. Red soft cover is browning around the edges, spine is tattered, 156 pages. 6188.2: Red soft covered booklet of 26 pages, Office Copyballarat school of mines, annual report, andrew anderson j.p. - president, f. j. martell - vice president, r. denham pinnock - vice president, rivett henry bland - trustee, the hon. sir w. j. clarke - trustee, the hon. john warrington rogers - trustee, james oddie - trustee, the hon. henry cuthbert - honorary solicitor, r. g. middleton - honorary treasurer, charles kent - auditor, andrew berry - registrar, alf. mica. smith - chemistry, metallurgy, f. m. krause - geology, mineralogy, mining, j. h. horwood - mechanical engineering, machine drawing and design, theoretica and applied mechanics, mathematics, henry j. hall - freehand and model drawing, j. a. dawson - electricity and magnetism, george day - botany, e. gutheil - biology, materia medica, pharmacy, a. e. c. kerr - mechanical drawing, machine construction and design, e. gutheil - biology, pharmacy, materia medica, henry crone - assistant registrar of titles, henry b. loch, elder gray - president, clunes branch, harry e. sando - registrar, clunes branch, w. y. witherden - hon. treasurer, clunes branch

Ewan ROSS Ewen Ross grew in the Wimmera and aims to manifest the changing nature of this landscape in his work. This region is affectionately known as the land of the big sky and it is from this viewpoint looking down and across, which inspires his sense of image making. Occasionally he refers to stories that occurred from times past but generally these images reflect the current state of this land. From 1976 to 1978 Ewan Ross undertook a Diploma of Art (Painting) at Ballarat College of Advanced Education (now Federation University. He was awarded a Graduate Diploma of Education in 1982. He was a Curatorial Assistant at the Art Gallery of Ballarat from 1979 to 1981, and taught Art at Horsham Technical School between 1983 and 1985. From 1986-1897 Ewan Ross taught at the Wimmera Institute of TAFE, and was Lecturer in Painting & Printmaking at the University of Ballarat (nor Federation University from 1998-2005. In 2008 Ewan Ross was a finalist in the Fleurieu Biennale Art Prize. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, ewan ross, wimmera

Book - spiral wire bound , clear plastic cover, green title sheet and card back, approx. 110 pages, black and white presentation giving examples of tram tickets along with notes on each system for Melbourne, Country Victoria, Queensland, South Australia, Western Australia, Tasmania, New Zealand (11 systems) and Tourist tramways. Has a table of contents, introduction, an overview of the operators, list of Urban Transport Milestones During the Tramway Era for NZ and a story "Mystery Solved by Tram Ticket by Robert Pine as told by Jack McLean about a murder in London that was solved by a tram ticket found in the person's clothes. Rear page has purchase details of the book and CD, along with a contact address in Sydney. See Reg Item 5579 for the CD. Bob Merchant of the Sydney Tramway Museum advised 4/3/2021 that: Richard Peck, as Curator of Philately, Printing and Postal Technology, was responsible for the Museum of Applied Arts and Sciences acquiring major artefacts from the NSW Government Printing Office when it was forcibly closed by the government in 1989. In retirement Richard has researched the history of private bus routes before 1932 and government bus routes 1932-2021. He maintains a large database of all types of NSW transport tickets.trams, tramways, tickets, reports, melbourne, mmtb, stories

The Rufous-bellied Kookaburra is a large member of the Kingfisher family. It commonly resides in the dense rainforests of lowland New Guinea, Saibai Island, Indonesia, Biak, Maluku/Moluccas Islands, Papua New Guinea, Melanesia and Queensland in Australia. This is unlike other species of Kookaburra which commonly prefer to reside in locations of open country. Another aspect which makes this bird unique to other Kookaburra is its tendency to live in pairs and not in family groups which is typical of other Kookaburras. In the case of the Rufous-bellied Kookaburra, both parents incubate and care for the eggs/chicks. This Kookaburra feeds on small mammals, birds, reptiles and insects. The Rufous-bellied Kookaburra was originally named the Gaudichaud's Kookaburra after the French botanist Charles Gaudichaud-Beaupré. This species of Kookaburra is among the most colorful varieties of the Kookaburra alongside the Spangled Kookaburra. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The Rufous-bellied Kookaburra is a large Kingfisher with a black coloured cap on the head, white collar around the neck, blue feathers on the wings and rump and a rufous belly. The female Kookaburra has a brown/rufous coloured tail, as is the case for this particular specimen which identifies it as female. This bird has a large white bill and pale coloured legs. The head is a large square shape and the body is stocky.Label: National Museum Victoria / 159a /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, kookaburra, rufous-bellied kookaburra

A major rebuilding project took place. Brothers John & Thomas Morgan with local storekeeper Harold Goodwin Taylor designing and building a grand new Guest House with 22 bedrooms plus the original bungalows. Unheard of at the time the guests bedrooms had hand basins with hot & cold running water. This was achieved by building a weir on Stony Creek and piping the water to a high holding tank at the guest house. The dining room was a grand affair, a 4.5 metre high ceiling with beautiful gold leaf cornices, art deco ceiling and wall lights with feature plaster lights in the form of blue bells, wall to wall carpet and Kentia palms completed the picture. Ladies & gentlemen dressed for dinner, the ladies resplendent in their long evening gowns and jewellery would come down the stairway from the entrance hall to the lounge then the dining room. The tables were beautifully appointed with damask table cloths & fine silverware. The kitchen was well appointed with a huge coal fired range and a donkey for hot water. Milk & cream, bacon & pork, chicken & eggs together with vegetables were all home grown on the property. A large ballroom with a beautiful timber floor was the scene after dinner for many dances and party nights with guests from other establishments and locals joining in for the night. A huge fernery was also a feature of the gardens. During the day tennis parties would be held on the courts, together with horse riding and guided walks were taken out by local guide Gilbert Rogers.Photo of newly built Grampian Houseaccommodation, guesthouses, accommodation, grampian house

Rationing regulations for food and clothing were gazetted on 14 May 1942. Rationing was introduced to manage shortages and control civilian consumption. It aimed to curb inflation, reduce total consumer spending, and limit impending shortages of essential goods. The broad reasoning behind the introduction of rationing was to ensure the equitable distribution of food and clothing. It was also hoped that a cut on consumer spending would lead to an increase in savings, which in turn could be invested in war loans. Australians were never as short of food nor rationed as heavily as civilians in the United Kingdom. Rationing was enforced by the use of coupons and was limited to clothing, tea, sugar, butter, and meat. From time to time, eggs and milk were also rationed under a system of priority for vulnerable groups during periods of shortage. Rationing was administered by the Rationing Commission. The basis for policing food rationing was through the surrender of coupons before rationed goods could be supplied. This had to occur between traders as well as consumers. Coupons were passed back from consumers to retailers, from retailers to wholesalers, and in many cases from wholesalers to producers, who were requested to return them to the commission. Breaches of rationing regulations were punishable under the general provisions of National Security Regulations by fines of to £100 or up to six-months imprisonment. Responding to the complaint that these penalties were inadequate, the government passed the Black Marketing Act at the end of 1942. This Act was for more serious cases and could carry a minimum penalty of £1,000.The clothing ration books and coupons belonged to Edna Barrie, the food ration card belonged to Wendy Barrie and the tea and butter ration card belong to Elizabeth Daley.local identities, war

This is a photograph of two people (James Toole and Beryl Witkowski) amid celebrations for St Patrick's Day at the Burke Museum in an unknown year. St Patrick's Day is traditionally an Irish religious holiday, but has been adopted in countries such as Australia to celebrate an idea of Irish culture. These celebrations often include wearing green clothes, especially a shamrock hat, and drinking beer, all pictured here. This celebration appears to be taking place within the Burke Museum itself, with museum's iconic stained glass oval window in the background. The Museum, situated in Beechworth, holds a collection of over 30,000 individual objects - including this photograph. James Toole (left) was the 'face of the Beechworth Post Office' until his retirement in 2015, following a 45-year career in mail service. He is a Friend of the Burke Museum, volunteering on projects such as crafting the Burke Museum's float in the 2018 Beechworth Bakery and Beechworth Honey Grand Parade at the Golden Horseshoes Festival. He is known for his flamboyant character. Beryl Witkowski (right) was a historian and curator for the Burke Museum, retiring from her position in 2016. She was involved as a Friend of the Burke Museum from at least 2004.This photograph is significant to the Burke Museum and Beechworth as it depicts two prominent, contemporary members of the museum's paid and volunteer staff in the museum itself. It highlights both how the staff interacted with the museum through celebrations and how the museum itself was used in capacities other than object display. The photograph can also be used to interpret Australia's relationship to the St Patrick's Day holiday, especially given the presence of Irish immigrants to the Beechworth area in the nineteenth century.A colour, square photograph printed on rectangular photographic paper.First Card: WITKOWSKI, Beryl / TOOLE, James / BMM 3067 / Databased Second Card: Burke Museum / 3067 /burke museum, beechworth, museum staff, celebrations, st patrick's day, beer, australia, st patrick's day celebration

This well-produced but water-damaged book of Longfellows Poetry, was part of the former Warrnambool Mechanics Institute Library and Museum collection. The custody of this collection was assumed by Flagstaff Hill Maritime Village in the 1970s. Supporting provenance indicates the book was retrieved from the sea at Loch Ard Gorge soon after the shipwreck of the same name in June 1878. This book was given to the Warrnambool Museum curator Joseph Archibald by its finder, the Warrnambool Standard editor Henry Davis in October 1883. A letter from Mr Davis describing the poignant circumstances of his discovery is also in the Flagstaff Hill collection. A transcript of this letter is displayed next to the book in the Great Circle Gallery at the Maritime Village (reg. no. 2292). The story behind this book prompted Mr Archibald to write to the sole surviving female passenger from the LOCH ARD, Eva Carmichael, asking if the book was hers. Miss Carmichael replied by handwritten letter in January 1884, advising that the volume of poems did not belong to her: “We had a ‘Longfellow’, but our book had a green cover”. This letter is also in the Flagstaff Hill collection (reg. no. 2290.4).The book is rare as it has survived a shipwreck in relatively good condition. It is an example of personal possessions carried by a shipboard passenger in the 1870s. It holds significance for its connection to the renowned poet, Henry Wardsworth Longfellow. The book is important for its probable association with the wreck of the vessel Loch Ard in 1878. The LOCH ARD shipwreck is of State significance and is listed on the Victorian Heritage Register S417. A volume of poetry by Henry Wadsworth Longfellow. It is bound in blue-purple cloth on thick board, with black lettering and curling-vine design, framed by gold border. In the centre of the front cover is a raised smooth-white ellipse with crimped edges, now worn bare but with traces of an original brightly coloured floral design. This white centre of supple leather is also framed by a decorative gold border. The upper case lettering on the front cover reads ‘Longfellow’s Poetical Works’. The edges of the blue material are faded and worn. The pages are corrugated by water damage but their original gold-edged condition is still evident. The front and back covers are scored with singed holes approximately 1.5cm diameter, situated about the centre edge of each side and in roughly corresponding positions. These holes may be from an original book-latch or fastening. However they have since been damaged by a hot piercing object, which has blackened the holes and extended the damage into the enclosed pages. The spine of the book features a stylised oak tree in gold, rising from bared roots to serrated leaves and acorns. The letters “LON[DON]” at the top of the spine and “W.P.NI[MM]O” at the bottom. The book cover has separated from the majority of stitched pages, along with a number of title pages, which are now loosed from the binding. The books condition is fragile from a handling perspective, but stable in terms of further deterioration. ‘Inscribed “Loch Ard June 1 1878” in pencil within ― believed to be a salvage from the shipwreck’ (Mechanics Institute Library auditor, June 1996).warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, longfellow’s poems, loch ard, eva carmichael, warrnambool mechanics institute library, warrnambool museum, joseph archibald, henry davis, william p. nimmo, poetry, heny longfellow, henry wadsworth longfellow, poetical works, 1870s, 1877, longfellow’s poetical works

Elwyn (Jack) LYNN (6 November 1917 – 22 January 1997) Born Canowindra, New South Wales Sydney based artist Elwyn Lynn was a self-taught artist who often used unconventional painting media and expressive surfaces to create abstract work. He trained as a teacher, and was a teacher of English and History in Sydney Secondary schools until 1968. From 1969 to 1983 Elwynn Lynn was Curator of the Power Gallery of Contemporary Art at Sydney University where he built up an international collection, which is now within the Sydney Museum of Contemporary Art. He was an art critic at The Australian for many years, and wrote several books, including one on the artist Sir Sidney Nolan. Elwyn Lynn was awarded Membership of the Order of Australia in 1975. He won the Wynne Prize at the Art Gallery of NSW in 1988, received an Honorary Doctor of Letters from the University of Sydney in 1969, and received the Emeritus Award from the Australia Council in 1994. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed mixed media artwork. Like most of Elwyn Lynn's work 'The' is essentially abstract, although evoking a sense of landscape. " Lynn’s heavy textures were created by mixing polyvinyl acetate (PVA) with sand, cement or plaster, after which it was left to dry in the sun or near a radiator. With the upper level drying and hardening first, its skin could be cut, sliced, poked, prodded and distressed, pushed into folds and corrugations." (https://www.charlesnodrumgallery.com.au/artists/elwyn-lynn/elwyn-lynn/, accessed 22 October 2019)art, artwork, elwyn lynn, abstract, available

This newsletter published in January 1999 by the President Bendigo RSL Alan Holmes is basically an Annual report of the Sub Branch in 1998. The 22 sub headings cover all aspects of the Sub Branch. The one photograph shows Norm Smart with his Life Membership Certificate on the left, on the right is Jack Barnes, Norm was the Treasure BRSL and Jack was the Secretary. Some of the main points are: Membership total 1998 being 797, 40 members had passed on, award of the French Legion of Honour to Jack Locket 108 years old, Anzac Day was a high standard with guest Speaker Ray Wheeler, Annual dinner guest speaker being Warick Johanson, Life Membership awarded to Norm Smart, 97 parcels had been delivered to Members in Care, Appreciation to Jack Barnes, Norm Smart & Peter Ball, 19 Bendigo RSL Members win the Edinburg Bowls Sheild, Museum report by Curator Peter Ball, Appeals report by Malcolm Angus raising in the two Appeals, ANZAC $29,223.35, POPPY $22565.20, List of the full Committee 1998 & next AGM to be February 8th 1999, the first Sandakan service and B.B.Cue to be held on Sunday March 7th at 11.00Newsletter, paper, 4 pages each folded, all print B &W, there are 22 sub headings, two advertisements and one large article re Whats on at the Bendigo & District Servicemen's Club, heading on first page is simply "Newsletter 1999" underlined, one photo showing two RSL Members.brsl, smirsl, newsletter, 1999

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.Black and white photograph showing three men holding the new University of Ballarat (now Federation University) mace. From left to right they are Vern Robson (Chief Executive Officer City of Ballarat), Trefor Prest (Sculptor) and Professor David James (Vice Chancellor).university of ballarat, mace, trefor prest, vern robson

The Butcher Mr Bill Ellin delivering meat to Mrs J.L.Smith in front of the house Law Muir Den 510 Centre Rd Bentleigh c 1915. Groceries, Ice, Milk, Bread, Eggs, Poultry were delivered to housewives by the traders in horse drawn carts, Also Hawkers and Pedlars plied their wares by visiting the cottages. John Logan Smith 1860-1932 , the son of Irish immigrants James and Marianne Smith was born at their home near the 'Toll Gates' on Point Nepean Road and Dendy Street. East Brighton. At that time the area had many orchards that were later replaced by market gardens. J.L.Smith at first rented a cottage 'Law Muir Den' & Shed from Mr Box and commenced business as a wood merchant - sawing logs into shorter pieces using one horse to power the saw. He purchased the property, added to the buildings , began trading in fuel and fodder as well and installed a chaff cutting mill powered by 10hp steam engine. The business prospered 1909 following the death of Tommy Bent, J/L Smith was nominated for Councillor of the Shire of Moorabbin. WW1 1914 - 18 both John and Mary Ann supported local War Relief Auxiliaries and their son Vic served as a Signaler in AIF. As Motor transport was increasing 1926 J L Smith built a small Garage on the opposite corner (Woolworths Supermarket 2005) , employed a good mechanic ( Reg Hunt ) and developed another successful business. The Grain Store was managed by family until 1930. In 1932 JL Smith assisted a man whose car had broken down, pushing it to the garage and sadly suffered a heart attack and died. He is buried in Cheltenham Cemetery. J.L.Smith was an early settler in East Brighton now Bentleigh and established successful Wood cutting, Grain & Chaff cutting and Motor garage businesses in Centre Road . He was elected Councillor of the Shire of Moorabbin and, with Mary Ann, his family were involved with local Church, Red Cross, and other community organizations.A Black and white photograph c 1915 showing the Butcher delivering meat to Mrs J.L Smith Bentleighsmith j l, smith mary ann, stanley helen, smith vic, smith harry redvers, chaff cutter, horse drawn carts, toll gates brighton, motor cars 1900, steam engines, early settlers, bentleigh, parish of moorabbin, city of moorabbin, county of bourke, moorabbin roads board, shire of moorabbin, henry dendy's special survey 1841, bent thomas, charman s, highett william, ormond francis, market gardeners, vineyards, orchards, william ellin, butcher

Original Painting in Bendigo Art Gallery PAINTING WON'T HANG IN MESS BENDIGO intends to keep its big oil painting, "Gentlemen - the Queen," hanging in the Shamrock Hotel in Pall Mall. i The painting is on loan to the hotel from the Bendigo Art Gallery. And It's badly wanted at the officers' mess of the Royal Australian Artillery, 3rd Div., in Batman av., Melbourne. A formal application for It was made, In writing, to the Art Gallery by Brigadier W. Hall, commanding offlfncer. But Art Gallery members at their meeting yesterday said "No." Lending it or giving it away would "create a dan- gerous precedent for the Gallery," they decided. . "Any anyway," said Mr. W. Little, the Gallery's curator, "Brig. Hall has erred in thinking the men depicted in the painting are artillerymen. "They're offlfflcers In the Duke of Connaught's Light Infantry." But in Melbourne last night Brigadier Hall, keenly disappointed, said: VI have been told the picture was painted in the Royal Artil- lery mess at Woolwich, In England. "I have never dauhted the men are artillerymen, be- cause they wear the gun- ners' blue mess Jacket, scar- let cuffs and scarlet waist- coat." The Argus Tuesday 8 September 1953 Digitalised http://trove.nla.gov.au/ndp/del/article/23307813/1762840?zoomLevel=3Colour print of a painting by Albert Chevallier Taylor in wooden frame Glass frontedCopy by Survey Regiment 1986gentlemen the queen, argus newspaper, bendigo art gallery.

Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events

Born at Sandhurst, Victoria Albert Steane attended the Gravel Hill State School until the fourth class, then transferred to the Central School 1976 where he gained the Merit Certificate. The monitor system of teacher training had been introduced and he passed fourth, third, second and first class pupil teacher. At about 16 years of age he was appointed a teacher monitor at 12 pounds per annum. Albert Steane was awarded the Teachers' Certificate of Competency in 1897. He was the first headmaster of the Ballarat Technical School (1913), and opened the Sloyd (woodwork) Centre in 1902 at the Ballarat East Art School (later known as the Ballarat East Free Library). of Mines and Industries Ballarat (SMB). Steane is known for the teaching of Sloyd or woodwork, which was an important point in his career, and for his love of gymnastics. He was made a life member of the Ballarat Y.M.C.A. in 1968 aged 91 years. The teaching of woodwork in Victoria began in 1901 and Steane was chosen, among 18 others for the inaugural training course at Queensberry State School in Melbourne. Steane died, aged 93 years, on 13 July 1970, at Sydney, leaving his widow Grace Elliott Steane and children Eric and Violet. (See http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_steane.shtml)Victorian Education Department License to Teach Certificate printed and handwriiten on to parchment like paper, made out to Albert Alfred Whitelock Steane. License No. .education, teaching, albert steane, aaw steane