Ill, maps, p.23.non-fictionA history of Wellington trams - a pictorial and descriptive representation.tramways - new zealand, urban transport - new zealand, tramways - wellington

Ill, p.18.non-fictionA history of trams to Papanui - a pictorial and descriptive representation.tramways - new zealand, urban transport - new zealand, tramways - christchurch

Ill, maps, p.36.non-fictionA history of trams in Christchurch - a pictorial and descriptive representation.tramways - new zealand, urban transport - new zealand, tramways - christchurch

Ill, maps, p.36.non-fictionA history of trams in Christchurch - a pictorial and descriptive representation.tramways - new zealand, urban transport - new zealand, tramways - christchurch

Ill, p.28.non-fictionA history of trams in Dunedin - a pictorial and descriptive representation.tramways - new zealand, urban transport - new zealand, tramways - dunedin

View of Birthing Tree at Lal Lal used by indigenous women Representation of a significant place for local indigenous womenView of the trunk of the Lal Lal Birthing Tree and country beyondBirthing Tree, Lal Lal Feb 1995landscape, lal lal, indigenous, significant trees

View of landscape and farming land at Mt Mercer in the early part of the twentieth century Representation of the small outlying rural areas near Buninyong in the early twentieth centuryLandscape around Mt Mercer circa 1920mt mercer, landscape

This ship model of the Wilhelmsburg was made by Johann Landmann during his journey on the very vessel, the sailing ship Wilhelmsburg. It was donated to Flagstaff Hill by the wife of Landmann's great-grandson. Landmann (or Landman, also known as August Landmann) was born in 1826 in Ganhor, Silesia, Prussia. At the age of 20, he travelled through Europe, working from town to town as a cabinet maker. At 26 years old he returned to Germany, married Anna Rosina in Wahlstatt, Prussia, and on the same day sailed for Australia on the Wilhelmsburg in 1853, the year the ship was registered. The Wilhelmsburg was a three-masted, square-rigged sailing ship built at Reiherstieg, Hamburg, and registered in Hamburg on 27th April 1853. On her maiden voyage in 1853, the ship sailed from Hamburg, Germany, to Australia with 510 passengers on board, including emigrants under the Bounty Scheme. Johan Landmann was one of the passengers. The Wilhelmsburg arrived in Hobson’s Bay, Melbourne after sailing for 100 days. Johann spent a week in Melbourne then travelled to Warrnambool aboard the Merry Kitty, arriving fourteen days later. Johann had landed in Melbourne with only 16 shillings in his pocket and by the time he arrived in Warrnambool, he only had one shilling and sixpence left. He also had very limited ability to speak English. He settled in the Allansford area, near Warrnambool, together with other families from Germany and went on to play a significant role in the history of Warrnambool. Johann worked as a cabinet maker in Warrnambool, making the first coffin in the Warrnambool cemetery. He also worked as a general merchant. He built many of the earliest shops in Warrnambool, and the first paddle boat used on the local Hopkins River. He made models of Warrnambool’s Ozone Hotel and Presbyterian Church; the model of the Hotel is now in the Warrnambool Art Gallery, and the model of the Presbyterian Church has been in the care of the Warrnambool & District Historical Society since around 2017. One of Landmann's residences was a two-storey building in Henna Street Warrnambool where he, lived upstairs and operated his business downstairs. After he retired Landmann built a ‘handsome stone residence’ at 30 Mickle Street, Warrnambool, where he lived until his death in June 1920; he was aged ninety-five. “Landmann Street” in Warrnambool has been named after Johann and appears on a map in 1872. He has also been honoured on Warrnambool’s Pioneer Memorial Board which is displayed at the Warrnambool and District Historical Society. Landmann's son Adolph Fritz Landmann (Fritz Landmann) born in 1861, was a Councillor from 1905 to 1915, and Mayor of Warrnambool from 1912 to 1915. The Wilhelmsburg sailed from Hamburg in 1863 heading for Queensland, Australia, but in December the vessel was wrecked off the coast of Holland during storms, with the loss of 247 lives.The ship model of the Wilhelmsburg is significant historically, having a connection to the maiden voyage of a ship that holds the record for the number of passengers carried in one journey on such a small vessel. It is also significant as it is believed to be the only existing model or representation of the ship. Johann Landmann, the maker of the model, was one of the earliest residents in Warrnambool and is a significant historical figure in colonial Warrnambool. He has the honour of appearing on the Memorial Pioneers’ Board. Landmann used his craftsmanship skills to make several early Warrnambool buildings, the first coffin in the cemetery, the first paddle boat on the Hopkins River as well as models of significant local buildings. Model of the sailing ship Wilhelmsburg, carved in wood by Johann Carl Augustus Landmann in 1853. The three-masted model barque is painted black. It has a long bow spit. flagstaff hill, flagstaff hill maritime museum, maritime museum, warrnambool, barque, wilhelmsburg, landmann, johann landmann, augustus landmann, landman, ozone hotel warrnambool, presbyterian church warrnambool, 30mickle street warrnambool, ship model, shipwreck coast, 1853, fritz landmann, warrnambool councillor, warrnambool mayor, anna rosina, maiden voyage, bounty scheme, hobson's bay, hamburg, merry kitty, coffin maker, cabinet maker, paddle boat, henna street, landmann street, pioneer memorial board

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.

The extensive formal landscaped gardens of Rockingham had been created in the 1860s, and by the 1950s remained bordered to the south by the Barkers Road cutting, and to the north by Blytheswood, the neighbouring Syme family property, By 1940, the Syme family were no longer the occupiers of Rockingham. John Herbert Syme had died in October 1939, and by August the following year, his wife had made the house and garden available, rent free to the Red Cross as a convalescent home for Australian soldiers injured in the Second World War. At the time, the house was described as containing twenty rooms, including a ballroom and a billiards room, with a garden of eight acres overlooking the Yarra. The task of renovating the house to conform to its new function as a convalescent home took a year, finally opening in August 1941. Community support for Rockingham was widespread and included the decision by the National Gallery of Victoria to loan pictures from its collection to decorate the walls. Calls were made for women around Victoria to donate fruit and vegetables from their gardens, which the railways agreed to freight for free. Other local support included the work by a team of boys to establish a three-acre vegetable garden within the formal terraced gardens. From the beginning, occupational therapy formed a key component of the rehabilitation of psychologically injured soldiers. This is confirmed by contemporary newspaper accounts of weaving, ironwork, leatherwork, basketry and gardening by patients. Numerous photographs, held by the Australian War Memorial (AWM) and the State Library of Victoria (SLV), record the importance of these rehabilitation activities. The painting of the view across the river to Abbotsford may have been painted in one of these occupational therapy sessions. For many decades it hung in the occupational therapy room. It must have been on view following the sale of Rockingham by the Syme family to the Red Cross in 1955, and subsequently, until the house was demolished and its grounds finally subdivided in 1977.View of Abbotsford from the garden of Rockingham (1952) was created by V Maloney. The vantage point of the artist was the garden of Rockingham, one of two mansions overlooking the Yarra owned by the Syme family. The artwork depicts a number of sites - especially factories - that have since been demolished.Signed by the artist, lower right "V Maloney"rockingham red cross convalescent home, hospitals - kew (vic), rosemary lade, art therapy

Representation of miners living conditions during the gold rush from 1851Oil painting on chipboard with image of miner's shack with 2 x pamphlets stapled on back of paintingHandwritten in left hand corner of painting "Miner's Shack Clunes Vic" Handwritten in right hand corner "James Egan"james egan, artist, miners shack

Professor Arthur Barrington (Barry) Baker was the first Australian anaesthetist to gain a DPhil in anaesthesia. He completed his DPhil at Oxford University at the Nuffield Department of Anesthesia in 1971, titled, Physiological Responses to Artificial Ventilation. The Waveform Ventilator is the machine developed to illustrate his DPhil. The waveform ventilator was used in several scientific studies on 'the effects of varying inspiratory flow waveforms and time in intermittent positive pressure ventilation (IPPV)', published in the 'British Journal of Anaesthesia'. Professor Arthur Barrington Baker had an extensive career in research and clinical practice including holding the position as the Nuffield Professor of Anaesthetics at Sydney university (1992 - 2005) and also as the Dean of the Australian and New Zealand College of Anaesthetists (ANZCA) (1987-1990).The variable waveform ventilator is of national significance, due to its association with Professor Arthur Barrington Baker (Prof. Baker) the first Australian academic anaesthetist, and the representation of historical social themes and research and design, in anaesthesia. Historic significance – It is a rare type of ventilator in good condition and well provenanced. It is a tangible record of the beginning of the long established and distinguished career of Prof. Baker, the first anaesthetist in Australia to gain a DPhil. Prof Baker has a strong involvement in the Australian and New Zealand College of Anaesthetists (ANZCA) organisation. The object is a product of Prof Baker’s Doctorate of Philosophy (DPhil) on respiratory physiology and is associated with the prestigious Oxford University and the well-known Nuffield Department of Anaesthetics. It also represents the social theme of migration to England from Australia in the 1960s and 1970s to access and experience academic and artistic opportunities limited in Australia at the time. Scientific Value – The object is of scientific value as it offers major potential for education and interpretation in anaesthesia. Although ventilators are common equipment, this specific design and construct prototype is one of a kind, designed and used specifically for research purposes. A rectangular shaped object on a trolley with four wheels. The top half of the object consists of two panels, one of cream coloured painted wood, the other black plastic, both containing several dials of different shapes and sizes. The wood surface also contains several gauges and a safety pressure clear plastic box. The plastic surface also contains a pin board. The bottom half of the object consists of two shelves. The whole object's perimeter is lined with perforated metals. The top wooden surface has several metal pieces of equipment and a long tube. The rear of the object contains numerous types of tubing and wire, a gas cylinder and two leather straps with buckles. The bottom half of one side of the objects has 3 electrical power outlets.Waveform Generator, Drs Colliss N Cowie, Dr Baker Dr Murray Willson, Dr Babbington, Safety Pressure, Error POS F/B, Position, Feedback, Set Balance, Reset, Full Stroke, Velocity, Converter Current, line Pressure, Low Pressure, Bias Pressure, Start, Stop, Stop, Reset Press, Max Press, W/G Output, A/CRO B/2.baker, arthur barrington, baker, barry, professor, academic anaesthetist, oxford university, nuffield department of anaesthesia

This group photograph of the Grade Prep/1 class at Jacana Primary School, taken in 1998, stands as a meaningful testament to the school’s lasting impact on the Jacana community. Founded in 1959 and active until the early 2000s, Jacana Primary was more than an educational institution—it was a vital hub of community life. Through decades of service, it fostered a spirit of inclusion, learning, and shared experience that shaped the lives of countless students and families. The image not only preserves the youthful faces of its students but also encapsulates the values of camaraderie, diversity, and belonging that were central to the school’s ethos. As a visual document, it offers valuable insight into the everyday experiences of school life and reflects the broader social and educational environment of Jacana during that era.The 1998 Grade Prep/1 class photograph from Jacana Primary School holds enduring historical and cultural value as a representation of the school’s pivotal role within the Jacana community. Established in 1959 and operated until the early 2000s, Jacana Primary was a foundational institution that contributed significantly to the educational and social development of the area. This image is significant not only as a record of the students and staff of that time but also as a reflection of the school’s inclusive and community-oriented ethos. It embodies the values of diversity, belonging, and collective identity that defined the school’s culture. As a visual artifact, it offers insight into the lived experiences of local families and the broader educational landscape of late 20th-century suburban Melbourne. The photograph serves as a tangible link to the past, preserving the memory of a place that shaped generations and fostered a strong sense of community connection.A vibrant laminated colour photograph featuring a group of children and staff seated in three rows. Their names are displayed on a white panel, printed on glossy paper, accompanied by the school logo.jacana primary school, education, photograph, group photograph, ms carol taylor, 1998, jennifer salib, dylan owen-buoy, teagan nash, krystal le, breanna nash, scott gore, christopher muscat, mohammad matar, andrea ratnam, andrew knostenbergs, jocelyn towers, hung phan, jesse west, mohamad saad, kristijan mihaljev, krishna hurley - edwards, matthew welsh, elias younan, alexandria ioseka, allak hamad, vanita harris, joshua harris, mrs. pam streete, mrs. linda mostyn

James Legg married Emerald Watson at Gembrook in 1885. The couple had at least 10 children. The San Francisco Instantaneous Photographic Company developed a new technique after 1870 which required exposures for only a fraction of a second. The Company would travel to advertised locations where they would take portrait photographs. This photograph is circa late nineteenth century. This and other postcards and photographs came from the estate of David Moyle (1938-2015) who was a police officer in Emerald during late 1960s-early 1970s, and subsequently at Belgrave in the early 1980s. David Moyle was closely associated with the now defunct Sherbrooke Historical Association.This postcard is significant because of its representation of a well-known local man and its evocation of a style of portraiture. It is also part of a collection belonging to a community member who had a close association with a local historical society.A style of photographic portraiture which became popular in Melbourne in the late 19th century, and which could be shared amongst family and friends. This one is sepia colored with rounded corners. The subject, James Legg, appears to be deliberately dressed as a working man and he is holding a long stick or tool and standing on leaves. Some background details are too faded to be able to be discerned accurately.On back printed: 'SAN FRANCISCO / INSTANTANEOUS / PHOTOGRAPHIC COMPANY' On back on the L side handwritten: 'Mr J Legg / alias / Ned Kelly' On back underneath the company information, handwritten: ' Pakenham / J. Legg'david moyle, police, san francisco instantaneous photographic company, gembrook, james legg, emerald

This 1997 photograph of students and a staff member from the junior student council at Jacana Primary School offers a compelling glimpse into suburban school life in Melbourne during a time of considerable social and urban change. Founded in 1959, Jacana Primary served as a vital educational and community institution until its closure in the early 2000s. More than a place of learning, the school was a foundation for building identity, connection, and shared experience among students and staff. The image highlights the school’s emphasis on student leadership and participation, reflecting its commitment to fostering an inclusive, empowering, and supportive environment for young learners. It also subtly documents the increasing cultural diversity of Jacana in the late 20th century, as suburban growth brought together families from a wide range of backgrounds. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education shaped local identity, encouraged civic engagement from an early age, and promoted social cohesion. It stands as a meaningful record of the school’s legacy and its lasting impact on the lives of children and their communities.The 1997 photograph of the junior student council at Jacana Primary School is a culturally and historically significant record that reflects the values and dynamics of suburban education in Melbourne during a period of notable social and urban transformation. Capturing a moment of student leadership and engagement, the image highlights the school’s commitment to fostering inclusive, participatory learning environments where young voices were encouraged and empowered. Jacana Primary School, established in 1959 and active until its closure in the early 2000s, served as a vital educational and community hub in Melbourne’s northern suburbs. This photograph not only documents the school’s emphasis on student representation but also subtly illustrates the increasing cultural diversity of the Jacana area in the late 20th century, shaped by migration and suburban development. As part of the school’s visual archive, the image contributes to a broader understanding of how public education helped shape community identity, promote social cohesion, and instill civic values in younger generations. It stands as a meaningful artifact of educational heritage and community memory.Colour Photograph mounted on white card, and laminatedBack: Top Left Corner: (Blue Label): PH-2187, (Front): (Bottom Left corner): Fotek Portraits © Photograph (Back): (Dispersed): Fujifilmjacana primary school, education, photograph, group photograph, 1997, junior school council

Hand made and given as a gift to a charge nurse by a grateful patient.Item is significant because it was created showing a representation of the current sisters uniform at the time. Made by an inpatient and presented to the Ward charge sister.Handmade soft toy, in the shape of a mouse in nurses uniform. Includes dress, apron, cape and cap.Nilahnl, nurse soft toy, handcrafted

This photograph, likely taken during Jacana Primary School’s 1990 Christmas picnic at Greenvale Reservoir, captures a dynamic moment of childhood play and joy. A group of children is seen mid-jump in a grassy park surrounded by tall trees, their movement and energy reflecting the carefree spirit of the occasion. The image offers a vivid snapshot of outdoor recreational activities that were central to the school’s end-of-year celebrations. Jacana Primary School, established in 1959 and closed in the early 2000s, was a vital institution in Melbourne’s northern suburbs. Known for its strong emphasis on both academic and social development, the school fostered a culture of inclusivity and community engagement. Events like the annual Christmas picnic were more than festive gatherings—they were opportunities for students, staff, and families to connect, celebrate, and reinforce the school’s values in a relaxed, natural setting. This photograph is historically significant as it documents the lived experiences of students during a period when outdoor play and communal events were integral to primary education. It reflects broader educational practices of the time, where physical activity, social interaction, and connection to nature were seen as essential components of a well-rounded schooling experience.This photograph is a culturally and historically significant record of Jacana Primary School’s community life in the late 20th century. Captured during the 1990 Christmas picnic—likely held at Greenvale Reservoir—it depicts a group of children mid-jump in a moment of spontaneous outdoor play. The image embodies the spirit of joy, freedom, and social connection that characterised the school’s end-of-year celebrations. Jacana Primary School, which operated from 1959 until the early 2000s, was a cornerstone of Melbourne’s northern suburbs, known for its commitment to inclusive education and community engagement. Events such as the annual picnic were integral to the school’s ethos, reinforcing bonds between students, staff, and families in informal, nature-based settings. The photograph is significant not only as a visual document of a specific event but also as a broader representation of educational values of the time—emphasising physical activity, social development, and the importance of shared experiences. It contributes to the historical narrative of public schooling in Victoria and preserves the memory of a school community that played a formative role in the lives of many local families.Colour Photograph on glossy paper in landscape formatPH18289 (crossed out) PH-4209 (crossed out) PH-4868/this paper/manufactured/by Kodakjacana primary school, christmas party, 1990, jacana

This photograph, believed to have been taken during Jacana Primary School’s 1990 Christmas picnic—likely held at Greenvale Reservoir in Melbourne’s northern suburbs—captures a candid moment of outdoor play among students. The image features three children engaged in recreational activities: two lying on the grass and one actively chasing a football. The relaxed setting, with trees, benches, and picnic tables in the background, reflects the informal and joyful nature of the event. Jacana Primary School, established in 1959 and closed in the early 2000s, was a vital part of the local community, known for fostering both academic excellence and strong social bonds. Annual events like the Christmas picnic were central to the school’s culture, offering opportunities for students, staff, and families to connect outside the classroom in a spirit of celebration and community. This photo serves as a visual testament to the school’s emphasis on holistic education—where play, social interaction, and community engagement were valued alongside formal learning. It also highlights the importance of outdoor spaces like Greenvale Reservoir in supporting communal activities and childhood development during that era.This photograph, taken during Jacana Primary School’s 1990 Christmas picnic—likely held at Greenvale Reservoir—holds cultural and historical value as a visual record of community life and educational practices in Melbourne’s northern suburbs during the late 20th century. It captures a moment of informal recreation among students, reflecting the school’s emphasis on holistic development through social engagement and outdoor activity. Jacana Primary School, established in 1959 and closed in the early 2000s, played a pivotal role in shaping the educational and social landscape of the Jacana community. Events such as the annual Christmas picnic were emblematic of the school’s commitment to fostering inclusivity, connection, and celebration among students, staff, and families. The image is significant not only for its documentation of a specific event but also for its representation of broader themes in Australian public education—community involvement, the value of play, and the integration of social experiences into the school calendar. It serves as a testament to the enduring legacy of Jacana Primary School and its contribution to the cultural fabric of the region.Colour Photograph on glossy paper in landscape formatPH18289 (crossed out) PH-4209 (crossed out) PH-4868/this paper/manufactured/by Kodakjacana primary school, christmas party, 1990, jacana

This 1979 photograph of Jacana Primary School’s bat tennis premiers offers a nostalgic glimpse into a vibrant chapter of local school life. More than just a snapshot of sporting success, it reflects the values that underpinned the school’s ethos—participation, perseverance, and community pride. Founded in 1959, Jacana Primary served generations of families until its closure in the early 2000s, becoming a hub for both learning and local connection. The image stands as a testament to the school’s commitment to nurturing well-rounded students through both academic and extracurricular pursuits. It also serves as a cultural time capsule, capturing the spirit of a suburban Melbourne school community during a formative era in public education.This 1979 photograph of Jacana Primary School’s bat tennis premiers holds enduring cultural and historical value as a representation of the school’s commitment to holistic education and community engagement. The image is significant not only for documenting a moment of sporting achievement but also for illustrating the broader educational philosophy of the time—one that emphasised teamwork, resilience, and local pride. As a visual record from a school that served the Jacana community from 1959 until the early 2000s, it offers insight into the social fabric of suburban Melbourne during a period of growth and change. The photograph contributes to the collective memory of the area, symbolising the role of public schools as foundational institutions in shaping both individual lives and community identity.A colour photograph of Jacana Primary School’s 1979 bat tennis team. The students are dressed in various sports clothes and are arranged in rows. The teacher stands in the top right corner of the group.jacana primary school, education, photograph, group photograph, 1979, bat tennis

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

This 1998 class photograph of Grade 2/3 students at Jacana Primary School captures a meaningful moment in the legacy of a community-focused institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. The image stands as a testament to the school’s lasting impact on local identity, its commitment to educational opportunity, and its role in nurturing social cohesion. As a visual document, it provides valuable insight into the educational environment, student experiences, and community values characteristic of suburban Melbourne in the late 20th century. The 1998 class photograph of Grade 2/3 students at Jacana Primary School holds historical and social significance as a visual representation of a community-oriented educational institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. The image embodies the school’s enduring contribution to the development of local identity, the provision of accessible education, and the fostering of social cohesion within a diverse suburban context. It offers a valuable snapshot of late 20th-century educational practices, student life, and community values, reflecting broader societal trends in public schooling and suburban growth during this period. As such, the photograph is an important cultural artifact that contributes to the collective memory and heritage of the Jacana community.A colour photograph depicting students and teachers at Jacana Primary School, taken in 1998. The image is bordered by a black frame and features a white strip along the bottom edge with names of individuals neatly printed. The Jacana Primary School logo is located in the bottom right-hand corner. The entire photograph has been laminated for preservation purposes.jacana primary school, education, photograph, group photograph, scott blaney, jomana matar, trent gore, sam koistinen, john nisi, toby west, jessica salib, enver scholz, emre akbiyik, helen younan, eman hamad, andrew patalas, lena wharepapa, stephanie melia, corey le, clara david, benjamin grubb, dianne dabrowski, andrew fuimaono, maeve-aine oakley, olivia kaleta, maureen-heidi towers, kaylie hooke, luke o'toole, luke munyard, ben hughes, mrs. heather faulkes, ms. carol taylor, 1998, grade 2/3

This 1997 photograph of staff at Jacana Primary School represents a poignant chapter in the history of a community-focused educational institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. Far more than a conventional staff portrait, the image stands as a historical artifact—capturing the ethos of a school that was deeply interwoven with its local community. Jacana Primary was a place where educational equity, inclusivity, and a strong sense of belonging were not just ideals but everyday practices. The photograph offers a window into the educational values, staff culture, and broader social dynamics of suburban Melbourne at the close of the 20th century, reflecting the school’s enduring impact on generations of students and families. This 1997 staff photograph from Jacana Primary School holds enduring historical and cultural value as a visual record of a community-centred institution that served Melbourne’s northern suburbs from 1959 until the early 2000s. The image encapsulates the school’s pivotal role in promoting inclusive education, fostering social cohesion, and shaping local identity during a period of significant demographic and educational change. As a representation of the school’s staff culture and values at the close of the 20th century, the photograph offers insight into broader trends in suburban public education, including the emphasis on equity, community engagement, and the professional dedication of educators. It stands as a testament to the legacy of Jacana Primary School and its lasting impact on generations of students, families, and the wider community.A colour photograph depicting teachers at Jacana Primary School, taken in 1997. The image is bordered by a black frame and features a white strip along the bottom edge with names of individuals neatly printed. The Jacana Primary School logo is located in the bottom right-hand corner. Photograph is laminated. jacana primary school, education, photograph, group photograph, mrs. heather faulkes, mrs. dora aylward, mr. rob merlino, mrs. linda mostyn, mrs. vivien mcnish, mr. graham archer, ms. mary stapleton, mrs. doreen brown, mrs. pam streete, mrs. kaye smith, 1997

A steam kettle together with a steam tent was used to create a moist atmosphere. A steam tent was set up enclosing the whole bed by means of sheets/curtains and sometimes canvas, the kettle was heated over a gas or spirit stove, usually on the floor next to the bed, with the spout inserted inside the tent.Of significance to the AHNL as it is a tangible representation of nursing history. Steam inhalations were used to relieve patients with respiratory disorders and some drug therapy could be administered by this route. It was an effective method of treatment, observing the patient closely was difficult as they were completely hidden by the steam tent - many nurses got to share the steam therapy.Copper steam kettle with removable elongated straight extension spout and fan shaped nozzle on the end. There is a small opening for filling the kettle which holds 4 litres. Screw plug attached with chainnonesteam kettle, inhalation

THE DOLL HOUSE _ Yvonne Fitzmaurice The ten room fully furnished American farmhouse was created from an idea by former Mitcham resident, Yvonne Fitzmaurice and was constructed between 1976 and 1978 as a birthday present for her daughter, Susan. The house is a unique interpretation of early American architecture and inferior design. It is also a representation of one woman's ability to create and complete a details snapshot of a lifestyle long gone and give pleasure to family, friends and now the community. Yvonne has had an interesting and full life, born in New Zealand where was a State Registered Nurse and she specialised in hospital theatre work. Later her curiosity bought her to Australia where she worked at the Sydney hospital and with the Australia Flying Doctors service flying in and out of Wilcannia, western New South Wales. On returning to New Zealand Yvonne acted as part of a Medical cover team for the different armed services. one session in the Nary involved pursuing submarines which she described as being very exciting. In 1958 she travelled by sea through the Suez Canal to England and as a member of British Services served in the post WWII Germany for three year in the QARANC and also worked at The London Clinic with some high-profile specialists. Yvonne was introduced to her husband-to-be at a tennis party and they lived in Cambridge, UK, where their two children, Alastair and Susan, were born. On coming to Australia in 1965 as "£10 poms" (Yvonne's words) she worked in casualty at the Box Hill hospital. Initially the family lived at Blackburn South before moving to Mitcham in 1968. To help establish a new life with her family in Australia, Yvonne worked in many different positions from nursing, machine knitting for a Prahran shop, making Christmas Cards and as a commercial traveller. As a hobby she also sold a number of pastel paintings. Following the publishing of her first family history in 1994, Yvonne became a member and volunteer at the Whitehorse Historical Society where she has contributed in producing local history publication, articles for the Newsletter and has improved access to the files by creating the detailed "green files". Her interests include art, crafts and writing. Yvonne has a great philosophy, 'each day I must achieve something - no matter how small'.Hand-made child's doll's house. Built by Mrs Yvonne Fitzmaurice and finished in 1979. This house was built as a 1:12 scale and is a model of a Californian house called Peppercorn farm. House was built by Yvonne and her family and took a period of three years. A lot of the furniture is handmade and the rest is collected from various shops. "Susan Fitzmaurice" name on front of building. Date on plaque on top of front wall.na5059, na5061, na5063, na5065, na5068, na5071, na5073, na5075, na5077, na5079, na5081, na5083

Photograph shows actor Megan Williams dressed as conductress Alice Sullivan posing at the right side driver's doorway of what may be an L class car, suggested by the metal downpipe from the roof to the undercarriage and the saloon windows. The photograph is closely cropped but also appears to show a male in jacket or coat inside the saloon behind the driver's compartment. The Sullivans was a successful period drama series screened on Channel 9 between 1976 and 1983. It traced the lives of a Melbourne family during the 1939-45 war and its aftermath. As women were 'finally' employed by the tramways from 1941 because of man-power shortages, Alice Sullivan's new job helped highlight the changing societal views of the 1940s. The series was know for its attention to historical details, so Alice is dressed in the conductress uniform of the 1940s - brown tunic with brass buttons and belt, collar and tie, a cap (which may not exactly match that of the day), brown skirt below the knees, stockings and flat brown lace-up shoes. Alice also wears a conductor's coin bag with ticket wallet and two blocks 4 penny tickets strategically located for the camera. One error in the historical detail is that the coin bag is hung solely around her neck, which was never done because of the weight of the coins and tickets. A more eleborate harness was soon provided for conductresses. Another error is the placement of the ticket blocks which would have easily worked loose and lost, resulting in a large deduction for the conductress's wage.Yields information about 1940s conductresses and their representation in popular drama Black and white print with note on rearIn pencil: "Channel 9 Sullivans"megan williams, alice sullivan, conductress, l class, the sullivans, conductress uniform, coin bag

This 1982 photograph of Grade 2–3, Room 7 at Jacana Primary School offers a vivid snapshot of suburban school life in Melbourne during a period of significant social and urban transformation. Established in 1959, Jacana Primary served as a central educational and community hub until its closure in the early 2000s. More than just a place of learning, the school was a space where generations of students and teachers developed a strong sense of identity, connection, and shared experience. The image reflects the school’s commitment to fostering an inclusive and supportive environment for all learners. It also subtly captures the growing cultural diversity of Jacana in the late 20th century, as suburban development brought together families from a wide range of backgrounds. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education shaped community identity, promoted social cohesion, and left a lasting legacy in the lives of children and families.This 1982 classroom photograph of Grade 2–3, Room 7 at Jacana Primary School is of historical and cultural significance as a representation of suburban public education in Melbourne during a time of considerable social and demographic change. Taken during a period when Jacana and its surrounding suburbs were experiencing rapid development and increasing cultural diversity, the image reflects the evolving identity of the local community. Jacana Primary, established in 1959 and operating until the early 2000s, played a vital role as both an educational institution and a community anchor. This photograph captures more than a moment in a school year—it documents the lived experiences of students and teachers who contributed to the school’s inclusive and supportive environment. As part of the school’s visual archive, the image provides valuable insight into the role of public education in shaping community identity, fostering social cohesion, and creating lasting intergenerational connections. It stands as a testament to the everyday lives and shared histories of families in Melbourne’s northern suburbs.Colour Photograph mounted on white card, and laminatedBack: Top Left Corner in pencil: J.P.S Top right Corner: (Blue Label): PH-2129 Manufacturers mark; Sakurcolorjacana primary school, education, photograph, group photograph, 1982