Note by T.H. Kneen, "The photo was staged to depict a "father" and "son" seeking information about Burnley. "Father" was a staff member (Ray Harding)and "son" was a current student."Black and white photograph. Staged student interview depiciting a father and his son being interviewed by the Principal, T. H. Kneen. 2 copies. On reverse of 1 copy, "1950-1."t.h. kneen, father, son, staff, students, student interview, ray harding

David Medhurst (senior) ran a fruit shop in Grimshaw Street Greensborough and also reported on local events for the Hurstbridge "Advertiser" during the 1930s. This notebook, in the collection of his descendants, contains newspaper clippings of his articles and handwritten notes detailing payment for his work. The page shown is an example only; there are 54 similar pages in the collection.The importance of these clippings lies in their clarity as some copies on the Trove database are almost illegible.They also provide a snapshot of life in the 'rural' township of Greensborough in the 1930s.Scanned copy of 54 pages of handwritten notes and pasted newspaper clippings.Hand written notes throughout.david medhurst, hurstbridge advertiser

PRIVATE DAVID JAMES VICTOR JAMIESON No. 3875, 5th Infantry Battalion, killed in action 28/7/1916 in France.Memorabilia - framed story of a soldier in colour, using memorabilia of the soldier and his life, printed on paper. Frame - black extruded plastic, glass front, cardboard backing.DAVID J.V. JAMIESONframed item, anzacs, eaglehawk

Interview with Kate Crombie about her memories.Interview with Kate Crombie about her memorieskate, crombie, kate, forest hill, canterbury road, forest hill, mount pleasant road, forest hill, vermont primary school, no. 1022, coone, pat, giles, nancy, drake, dorothy, walter, roy, box hill grammar school, crombie, olive, kelly, burt, frances avenue, vermont, jack, mrs, vermont, jack mr, boronia road, vermont, seton-williams, mr, birnie

Students on a Traineeship Access course are video-taped to asses their interview skills. In this image a male is speaking to a female, whilst a video camera is recording the mock interview.B/W photograph of male talking to a interviewer with cameraStudents on a Traineeship Access course are video-taped to asses their interview skills.royal blind society of nsw, employment

The subject of this photograph, David Charteris McArthur was the founding manager of the Bank of Australasia in Port Phillip (Melbourne). McArthur was born in 1808 in Gloucester, England, and educated in Scotland. He worked for an insurance firm in Edinburgh where in 1835 he married Caroline nee Wright. McArthur and his family party sailed from the U.K. to arrive in Sydney in October 1835, where he joined the Bank of Australasia when it opened in Sydney in December. McArthur sailed to Melbourne in August 1838 with 3000 pounds in coins, protected by armed guards and two bulldogs, to open the Melbourne branch of the Bank of Australasia. The branch grew quickly, servicing both private and government customers. He opened many branches in the goldfields during the1850’s. In 1862 he was appointed as general inspector of branches. He spent time with the bank in New Zealand. On his return to Melbourne, at age 57, he was put in charge of the entire bank. McArthur lived in the hills of Heidelburg, Melbourne. He was the first chairman of Associated Banks and was advisor to politicians and merchants. He was retired in October 1876 by the London directors and given a free trip to London, an annuity and a seat on the bank’s Advisory Board. McArthur was active in the community, being a member of the Mechanics’ Institute, on the committee that advised Governor Hotham on the Colony’s finances, chairman of the Heidelburg Road Board, one of the original trustees of the Library of Victoria in 1853 and president of trustees of the Public Library, Museums and National Gallery of Victoria in 1880-83. He was also on many other community organisations. He died in his home “Charterisville” in East Ivanhoe in 1887. He and Caroline had no children. The Melbourne branch of Australia and New Zealand Bank has a portrait of McArthur in its boardroom. St John's Church, Heidelberg, commemorates him with a stained-glass window entitled 'King David'. The McArthur Gallery in the National Gallery of Victoria is also named after him. (David's brother, Donald, moved from Sydney to Melbourne in 1836 with the first government survey team.) ABOUT THE BANK OF AUSTRALASIA In 1836 the Bank of Australasia was established in London by Royal Charter. In 1951 the bank merged with the Union Bank of Australia, to form ANZ Bank Limited. In 1970 it merged with the English, Scottish and Australian Bank to become Australia and New Zealand Banking Group Limited. Since that time the ANZ has acquired other banks and introduced Internet banking and mobile banking. BANK OF AUSTRALASIA IN WARRNAMBOOL The Bank of Australasia first opened in Warrnambool in July 1854 in a building on Merri Street. The manager was Mr Samuel Hannaford. The bank then purchased and moved to a stone building on the corner of Timor and Gibson Streets, previously owned by Cramond and Dickson and almost opposite the Examiner’s office. In January 1957 Mr W.H. Palmer became the new manager and was there until November 1869. The bank then built its own building on the corner of Timor and Kepler Streets in 1859. Mr Basil Spence, the teller, was appointed acting manager in 1869 and Mr H.B. Chomley was the next appointed manager, in April 1873 and was still manager in 1886. The municipality of Warrnambool first banked with the Bank of Australasia from 1856 to April 1857. David Charteris McArthur was the founding manager of the Bank of Australasia. This photograph of him represents the beginnings of Warrnambool's commercial history, with the municipality using the Bank of Australasia as its bank from 1856-April 1857.Photograph; portrait of David Charteris McArthur. Heavily retouched black and white print in plain brown varnished frame, behind glass, with plaque on lower edge and inscription lower left corner.Lower left corner "A-H 1-9". Engraved on plaque "DAVID CHARTERS MCARTHUR \ SUPERINTENDENT \ BANK OF AUSTRALASIA \ 1867-1876"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank of australasia, david charteris mcarthur, superintendent bank of australasia, colonial commerce, manager bank of australasia melbourne, colonial bank, warrnambool bank of australasia, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur

This is an exemplary model of what is possible in design for print. Only 20mm across, this magnification reveals nine separate print passes that each differently affect the paper's surface. Printed on a cheque commissioned by Avon Graphics Security, designed by David Lancashire and detailed by Geoff Fawcett in the 1990s, the design represents an important aspect of graphic design history: the creation of labour intensive marks that are impossible to forge. Jenny Grigg, 2017foil, graphic design, embossing, printing industry, design

David Syme (1827-1908) was a newspaper proprietor who was born on 2 October 1827 at North Berwick, Scotland. Early in 1851, he went via Cape Horn to California seeking gold. By mid-1852 he was in Melbourne, and in the next three years prospected with some success on Ballarat, Bendigo, Castlemaine and Beechworth diggings. In 1855 he lost a possible fortune at Egerton near Ballarat when a promising claim was jumped. Ebenezer Syme bought the insolvent Melbourne Age for £2000, and invited David Syme to take up a share. In September 1856 Syme put up some cash and his contracting business to obtain a half-share. He helped to manage the paper but returned to contracting late in 1857. When Ebenezer retired in 1859 Syme reluctantly returned to the business, and on Ebenezer's death next year he began his fifty-year career as publisher and editor of the Age. (C. E. Sayers, 'Syme, David (1827–1908)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/syme-david-4679/text7741, published first in hardcopy 1976, accessed online 25 August 2019._Reproducation of a image of David Syme.david syme, portrait, the age, journalist

David Syme (1827-1908) was a newspaper proprietor who was born on 2 October 1827 at North Berwick, Scotland. Early in 1851, he went via Cape Horn to California seeking gold. By mid-1852 he was in Melbourne, and in the next three years prospected with some success on Ballarat, Bendigo, Castlemaine and Beechworth diggings. In 1855 he lost a possible fortune at Egerton near Ballarat when a promising claim was jumped. Ebenezer Syme bought the insolvent Melbourne Age for £2000, and invited David Syme to take up a share. In September 1856 Syme put up some cash and his contracting business to obtain a half-share. He helped to manage the paper but returned to contracting late in 1857. When Ebenezer retired in 1859 Syme reluctantly returned to the business, and on Ebenezer's death next year he began his fifty-year career as publisher and editor of the Age. (C. E. Sayers, 'Syme, David (1827–1908)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/syme-david-4679/text7741, published first in hardcopy 1976, accessed online 25 August 2019._Reproducation of a image of David Syme.david syme, portrait, the age, journalist

Suggested reading - David Mitchell, A Forfar Man - Pamela Vestey. (National Library of Australia ISBN No. 0646104977 Second edition - 1996.A discussion paper by Murray Houghton, Warrandyte Historical Society, on the excavation of Pound Bend tunnel and examination of information sources suggesting David Mitchell's association with gold mining at Warrandyte." ... Just what then was Mitchell's actual association with mining in the Anderson's Creek goldfield? As an initial means to determining this, a number of biographies devoted to the man's lifetime achievements have been consulted. Some two of these were found to contain rather brief references to his involvement at Warrandyte. In the 1992 booklet entitled "David Mitchell a Forfar Man" written by a Mitchell family member, viz., Pamela, Lady Vestey, of Coombe Cottage, there is included a passge which commences "Another of David Mitchell's early interests was gold mining". This is appended by the bald statement "In 1870 he formed the Evelyn Tunnel Gold-Mining Company with a capital of £16,000." The other account of a Mitchell involvement with an unnamed Warrandyte company is contained in Joan Campbell's 1974 biographical article entitled, "Mitchell, David (1829- 1916) builder, contractor and businessman, etc.", in Volume 5 of the "Australian Dictionary of Biogaraphy". Campbell mentions that "In 1890 (sic) Mitchell formed a company to mine a channel and tunnel on the Yarra River at Pound Bend, Warrandyte," i.e., at a period some 18 or so years after it is known that the Evelyn Tunnel Gold-Mining Company had actually ceased operations. She then continues with the bizarre statement that "he employed gangs of Chinese to work three miles of river bed for gold". Neither of these respective excerpts indicate evidence of having been directly referenced from a legitimate original source, from which either author's contained comments might be authenticated. For any historian with an enquiring mind these statements demand further clarification. ..." - Murray Houghton

David Lancashire's Christmas promotion 'Hallelujah', designed for KW Doggett Fine Paper in 2009, is an example of one of the many innovations that Lancashire has contributed to the Australian paper industry. Considering the celestial aspects of Christmas and a favourite song - Leonard Cohen's 'Hallelujah' - Lancashire recalled a Wayang Kulit shadow puppet collected in Bali because of the way it interacted with light. Made from hide, the puppet was peppered with hand-punched holes to add intricate decorations to projected shadows. He adapted this concept to laser-etched paper and translated the fringed skirt of the puppet to die cut angel feathers. Jenny Grigg, 2017Greeting card and envelopechristmas, paper industry, design, graphic design, bali, puppets

Professor David James was the inaugural Vice-Chancellor of the University of Ballarat, a predecessor institution of Federation Uinversity Australia.Photographic portrait of University of Ballarat Vice Chancellor David James

Photograph of David Cull. He was a staff member for many years, as Chief Executive Officer in the 1990s. It is a professional photo taken for use in publications. Colour copies of this photo have been found with a sticker of the Keesing Photographic Studio on the back, taken in 1991.A record of the past employees or office holders of Melbourne Legacy.Black and white photo of David Cull.Label on back from Keesing Photographic.staff, david cull

Note by T.H. Kneen, "The photo was staged to depict a "mother" and "son" seeking information about Burnley. "Mother" was a staff member and "son" was a current student."Black and white photograph. Staged student interview depiciting a mother and her son.t.h. kneen, mother, son, staff, students, student interview, publicity

David Gordon Paten was born in 1917 in Orbost, Australia. He was the son of Evelyn Paten ( nee Roberston) and Thomas Paten who came to Orbost in 1893 and in 1907 began growing fancy bean seeds for H. James. He built the first private flood levee bank in the district. (ref Mary Gilbert) The book was edited by Kate Greenland on behalf of her grand-father, David Paten.This book of memoirs is a valuable reference for research into the early 20th century social history of Orbost.A 56 pp book with a plastic sheet cove. It is spiral bound in black plastic and is titled David Paten Memoirs. It was edited by Kate Greenland on behalf of her grand-father, David Paten.orbost-history paten-david

Photograph of David Cull. He was Chief Executive Officer in the 1990s. It is a professional photo taken for use in publications. A black and white copy of this photo is also in the collection. Photo was taken in 1991 taken by Keesing Photographic Pty Ltd.A record of the past employees or office holders of Melbourne Legacy.Colour photo x 2 of David Cull.Label on back from Keesing Photographic.staff, david cull

This photo of President David Ford and a widow with an envelope was taken on the same film as celebrations for the 80th Anniversary of Legacy in the grounds of Government House in 2003. It could be the widow passing over funds raised by the widows clubs to President Ford.There was a strong relationship between Legatees and the widows clubs. Widows clubs would raise funds through several ventures including their stalls and stamp sales throughout the year.Colour photo of President David Ford and a widow.Printed on the back

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) 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 still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available