Hard Cover Book with Dust cover.Harold Freedman was an Artist of enormous drive, ambition and achievement. While best known for his series of painted and mosaic murals, the largest ever created in Australia. He was also an influential teacher, an official war Artist and book designer.

Installed in the Westgarth Shopping Strip, the artworks include aerial, street level and inlaid pieces. The aerial installations consist of eight pairs of steel dragonfly wings. The street level series feature ten sculptural pieces of welded steel depicting enlarged body/skeletal parts of fauna that are indigenous to the area. The inlaid artworks are a series of stainless steel mosaic in the pavement.Five pairs of steel dragonfly wings mounted on eight painted PTC power poles. Ten sculptures of welded steel depicting enlarged body / skeletal parts of fauna that are indigenous to the area. These also function as bicycle racks. A series of stainless steel, ceramic and glass mosaic inlays.

Colour photograph of White Hills,' site adjacent to the Railway Workshops at the end of Riley Street showing the sands and gravels sitting on the white gravel and clay' written on enclosed description by Ralph Birrell. (see Mosaic 4400.220 for detailed information regarding the White Hills, written by Dr. Ralph Birrell)bendigo, mining, white hills

Black and white photo of a business in Hargreaves Street Bendigo. (actual address can be found in Bendigo directory 1930, mosaic M drive). The business is Whitelock and Carter Taylor's and Mercers. There are staff on the second floor veranda and 2 suited males on the footpath. A small child in a white outfit is standing and waving in the right foreground.bendigo, history, businesses

The seat commemorates the popular local Lollypop manfay bridge collection, 2011-10, briar hill, lollypop man, mosaics, public art, purdy's furniture, sherbourne road

Document presented with donation of gold scales from E.S.&A Bank. See Mosaic record 12259 for details of scales. Two pages, printed on lemon coloured paper. Paper describes the history of the banks on the site and a brief overview of the ways in which the scales were used to weigh gold 'for the past ninety years'. No date on document.bendigo, banks, english, scottish and australian bank

2053.1) Photo's "Aerial", Binder form, 4 pages, paper yellowed, photo's written on, area description under each one. B&W. 2053.2) Photo, large Aerial, B&W, "Vunakanau Plantation". Photo written on showing military positions, scale. Mosaic, Toma to Dieldimans Corner (Vunakanau) 17 Sep 1944.photography-photographs, military history - airforce, aerial

Colour photograph of White Hill area - possibly at First White Hill. Image shows white clay and gravel, low level bushes, possibly Chinese Scrub on site. 'The rim of the pit showing an exposed boulder in situ' ( in foreground of image ) (see Mosaic 4400.220 for detailed information regarding the White Hills, written by Dr. Ralph Birrell)bendigo, mining, white hills

Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters 31 March 1994 To: Victorian Arts Council Members From Grant Finck Project Coordinator Content: Introduces himself as the coordinator for 12 months; to members looking for expression of interest, includes Information Sheet 1994 on what the Creative Village is. 27 October 1995 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Granting access to the Victoria Hill site for small quantities of geological material. 10 January 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Endorsement of the project by the Council and confirmation that the Council will provide preliminary site work to allow the project to be enabled. Also advised the Arts Bendigo Mosaic Project makes contact with the Salvation Army (New Work Opportunity Project) 27 February 1996 To: Mrs. Mearle Hall From: Ken Beasley Manager Project Development The Smith Read Training Group. Content: LEAP Project Proposal - Mining Heritage Mosaic outlining the benefits of using LEAP Trainees to undertake the project. Proposed Scope of work outlining responsibilities of each participant. Bendigo Mining NL Environmental Trust Fund (Perseverance Exploration and Department of Energy and Minerals Victoria representatives) 27 June 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Advising that the Council will match dollar for dollar funding for the engagement of an artist to supervise the construction of the Mosaic in Upper Rosalind Park up to $3,500. 22 July 1996 To: Anne Buzza From Geof Brown Camp Hill Primary School Content: Thanks for using and managing the school students to help create tiles. 9 October 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Enclosed cheque for matching grant of $3500 15 October 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Agreement to relocate the project facilities to the car park and to maintain a close liaison between the Council and Arts Bendigo. 13 November 1996 To: Mrs. Mearle Hall From: The Sidney Myer Fund Helen Morris Research Officer Content: Remittance advice for $1000 22 April 1997 To: Mrs. Mearle Hall From: John Little Administrator Victorian Arts Council Content: Remittance advice for $500 towards the project and enclosing 12 VAC Annual reports. 20 October 1998 To: Mrs. Mearle Hall From: City of Greater Bendigo, Andrew Hall (Director Community Development) Content: Advising that the Council will make a grant of $1090 for the purpose of printing of Brochures for Bendigo Heritage Mosaic. A service agreement to be signed before the issue of the grant, 21 March 2001 To: Mrs. Mearle Hall From: City of Greater Bendigo, Justin Hanney (Director Community Services) Content: A reference from Council supporting the project application to Vic Health for the development of a series of small mosaic pieces along the linear pathway asjacent to the Bendigo Creek. 12 November 1996 To: Mrs. Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being first payment as under contract two for mosaic project. 4 December 1996 To: Mrs. Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being second payment as under contract two for mosaic project. 27 July 1997 To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Cheque for $2000 being final payment as under contract two for mosaic project. 12 June 1997 - Two copies To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Agreement between Maery Gabriel (The artist) and Arts Bendigo Inc. to complete the final two sections of the Bendigo Heritage Mosaic at the base of the Rosalin Park Poppet Head, Bendigo with a design of approximately two square meters within each section. The work to be completed by the endo of July 1997, unless severe weather conditions make the laying impossible. Agreement for two lots of $2000. 14 June 1996 From: Maery Gabriel Mosaic Artist To: Arts Bendigo Inc. Content: receipt for 50% payment for two weeks and $60 Travelling expenses. 21 May 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) of the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental thereto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and conditions hereinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-Ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5400 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo 1 November 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) of the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental thereto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and conditions hereinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-Ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5000 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo, plus transfer of the diamond saw purchased by AB 28 August 1996 Memorial to Bendigo’s Mining Heritage and Traditions financial and other support as at August 128th Arts Bendigo Financial contribution: $7000 Local Busine Sponsors: $2800 City of Greater Bendigo Matching Above: $2800 City of Greater Bendigo Site works: Equiv, $12000 Local Businesses and institutions supplying goods and services to total value of: Equiv: $7600 Expenditure: Purchase of equipment, including diamond saw: $2000 Purchase of materials: $800 Artists design fees: $3000 Artists on site work, travel and accommodation: $12000 insurance, administration etc.: $700 31 May 1996 List of possible donors' checklist Undated Budget Sheet 21 September 1995 From: The Victorian Arts Council To: City of Greater Bendigo Content: Invoice for $5000 10 December 1995 From: Maery Gabriel artist To: Arts Bendigo Content: Invoice $1575 for design of Rosalind Park Lookout. 45 hours @ $35/hour 1 October 1996 Historic mining Mosaic Pavement, Rosalind Park Poppet Head Financial Statement as a October 1st, 1996 28 October 1996 From: Maery Gabriel To: Ann Buzza (representing Arts Bendigo) Report on project of Rosalind Park Mosaic as at October 1996. The report lists the difficulties faced with the weather, unsuitable facilities on site and problems with the LEAP team labour.victorian arts council, city of greater bendigo

Black and white copy. Batchelder photo ( copy ) of View Point and Charing Cross. Oriental Bank Corporation building in centre. Medical Hall at left. Gold Office on left. Jackson's Iron Yard, Finlay & Co., to right. Earthworks, dray and pump in foreground. Black lead '28' on back. See Mosaic 1228 for further information on Henry Jackson and Jackson's Corner..Batchelderplace, streetscape, view point

Contents: • In the Blink of an Eye by Jim Connor • Memories of My life Growing Up in Eltham by Beryl Bradbury • One Hundred Years Ago; July-December 1919 by Liz Pidgeon o Unveiling of the Eltham War Memorial o Opening of St Andrews Gold Battery at Smiths Gully • Horses • Mr Parker by Grace de Visser • Mosaics in Were Street, Montmorency • Eltham Cemetery Stories by Richard Pinn o David George Clark o William Crozier • Contacts for the Eltham District Historical Society The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 newsletter distributed to membersnewsletter, eltham district historical society

Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Pamphlet for Rosalind Park Lookout - two copies. One side of the pamphlet has a layout image of the five sections of the mosaic and the poppet head base. The sections are numbers 1 to 5 Section 1: A stylised representation of the main Bendigo Goldfield based on a geological plan (Publish in 1992). It shows the lines of reef, including the famous Hustlers, Garden Gully and New Chum. Section 2: A typical cross section of the Bendigo Goldfields Section 3: The mine layout shown in this design features part of the Garden Gully line of reef. Section 4: Shown here is the Iron Bark mine on the Sheepshead reef. It has an interesting pattern of drives, stopes and winzes. Section 5: In this section the artist uses gold as her inspiration. The larger mosaic shows quartz veins winding through the earth containing gold in its various forms. The smaller mosaic represents the atomic structure of gold. It shows the the nucleus, the six shells of the atom, their electrons and orbits. The other side of the pamphlet describes the background of the community arts project, the artist, and volunteer workers, also notes mentioning the Bendigo community history. It also lists the donors for funding and business's that supported the project, with special thanks to Eric Wilkinson - Geolpogical advoser, the students and staff from Camp Hill, St Killians and Violet Street primary schools. BRIT and La Trobe University, bendigo.

Pamela Irving (born 1960) is a prominent Australian visual artist specialising in bronze, ceramic and mosaic sculptures as well as printmaking and copper etchings. Irving's early art was influenced by artists including Arthur Boyd, John Brack, Noel Connihan, Mirka Mora, Sidney Nolan and John Perceval. In recent years, Irving has been influenced ″by the honest and direct expressiveness of ‘outsider art’ (the art of self-taught or ‘naive artists’) and the craft of ‘memoryware’″ Significantly, this interest grew following Irving's visit to Nek Chand's Rock Garden in Chandigarh, India.Green Wedge Larry - dog sculpture reminiscent of the iconic Larry LaTrobe located at Melbourne City Square. The dog is constructed from Italian Bisazza glass tiles, using a Mapei adhesive system. The theme for his 'coat' is the flora from the local surrounds of Nillumbik, drawing from the 'Live Local Plant Local' Nillumbik plant directory.green wedge, larry, dog, sculpture, mosaic, indigenous flora, irving

Peacock Hall was opened by Premier Alexander Peacock. Stained glass windows by Amalie Feild (later Colquhoun).are located across both ends of the hall, as well as Honour boards listing students' war service in both World Wars. Boards along the side walls also list School Captains, Council Members, the Dux of the School as well as University graduates. The memorial mural tablet for the hall was designed by George Dancey. The tablet was unveiled by Major Baird on 9 April 1920 and features a finely executed mosaic mural symbolising the triumph of Good over Evil. world war one, ballarat high school memorial hall, stained glass, amalie feild, amalie colquhoun

Colour photograph: 'showing tunnels below the cement where the miners chipped the undersurface to get the gold The thickness of the cement can be seen' Loose sand and gravel above the cement has already been removed. Image shows layer of cement, tunnel visible on LH side, clay and gravel in front. (see Mosaic 4400.220 for detailed information regarding the White Hills, written by Dr. Ralph Birrell)bendigo, mining, white hills

Colour photograph 'showing tunnels below the cement where the miners chipped the undersurface to get the gold The thickness of the cement can be seen'. Loose sand and gravel above the cement has already been removed. Image shows mining tunnel visible going in under the cement. White clay in foreground. (see Mosaic 4400.220 for detailed information regarding the White Hills, written by Dr. Ralph Birrell)bendigo, mining, white hills

Photograph. Harry Biggs Collection. 1 photocopy of photo of Henry Jackson's Store, View Point, Sandhurst. Also included is the shop of Finlay & Co. There is also a sign Jackson's Gold Office. In the foreground is a small bridge which is going over the Bendigo Creek. Also there is a cart with the advertisement Batchelder Photographer Pall Mall. People can be vaguely seen under the verandah. See Mosaic 1228 for further information.place, building, commercial, harry biggs collection, henry jackson viewpoint

Photograph. Harry Biggs Collection. 1 black & white photo of Henry Jackson's Store, View Point, Sandhurst. Also included is the shop of Finlay & Co. On the verandah are people & in the foreground is the cart belonging to the photographer, Batchelder Photographer Pall Mall. Also in the foreground is a small bridge which was going over the Bendigo Creek. There is also a sign - Jackson's Gold Office. See Mosaic 1228 for further information.Batchelder Photographer Pall Mall.photograph, streetscape, sandburst, harry biggs collection, henry jackson viewpoint, jackson's gold office, finlay & co., batchelder photographer pall mall

Colour photograph of tree 'planted around the gunpowder magazine site in the 1880's, most of which still remain' at White Hills, Bendig ( at the end of Riley Street) The magazine keeper's residence is nearby and is in use as private residence. A magazine for gelignite was built nearby on the site of the Bendigo East School in 1883 and was pulled down in 1915. (see Mosaic 4400.220 for detailed information regarding the White Hills, written by Dr. Ralph Birrell)bendigo, mining, white hills

Page from 'Special Issue of The Spectator (6/2/1903) - Bendigo Businesses in block of advertisements on reverse side. Seven Bendigo businesses: J & T Watts, Grocers; Bendigo Timber and Iron Yards; H Lorenz, Tailor; T Sayer, Furnishing Undertaker; W H Reed, Caterers & Confectioner; Milburn's Coffee Palace; W J .McQuillan, Plumber. Scanned in: Mosaic Scans @ Terrys Scans: 1207.58a & 1207.68organization, business, bendigo businesses

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

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

Articles for Royal Historical Society (Bendigo Branch) Newsletter - March 1973). 1. ''Bells in and around Bendigo - No. 4: A 'Schomberg Bell' '' - bell of Twin Rivers Presbyterian Camp, Eppalock with history from wreck of the 'Schomberg' (Warrnambool, 1855); mention of St. Andrews, Bendigo and Bendigo fire bell (pro tem). 2. Handwritten version of ''Bendigo City Coat of Arms'' (see Mosaic 6550 for description). 3. Typewritten version of 1. abovedocument

Four ring binder containing correspondence re plant development Central Deborah Mine Bendigo 1939 - 1948 part 1, McColl Rankin Stanistreet Solicitors, Mining box 1.Newspaper clipping Bendigo Weekly Friday September 2 2016 referring to the construction of a modern office building at View point, 4 floors and have a lift(elevator), called Commercial House later becoming Cahill Chambers. Mosaic 5834 linkbook, bendigo, mining, history-bendigo-mining

This book was translated from the French of M. Jules Labarte.Charcoal hard covered book with over 200 beautiful black and white woodcut illustrations. Illustrations include: Ivory chair at Ravenna - Abbey of Lorsch Martha and Mary advancing to the savior (Chichester Cathedral sculpture) The Navicella mosaic by Giotto Crown of Charlemagne (Imperial Treasury Vienna) Sword of Charlemagne (Imperial Treasury Vienna) Shrine of the Migi (Cologne Cathedral) Cup of Lapis Lazuli Iron Crown of the Lombards (Monza Cathedral) Irish Harp Bayeux TapestryLibrary cards, dates stamps, etcballarat technical art school library, library cards and date stamps, book plate, art, middle ages, renaissance