A stirrup pump is a portable reciprocating water pump used to extinguish or control small fires. It is operated by hand. The operator places a foot on a stirrup-like bracket at the bottom of the pump to hold the pump steady. The bottom of the suction cylinder was placed inside a bucket of water. Water was drawn by pumping the handle up and down to create suction. The pumps were used in a variety of settings to enable quick action if a small fire broke out. They were a vital tool in London during the Blitz of World War 11. On the local level they were also used for spraying fruit trees, plants and vines. The Crescent Tool Company was founded in 1907. The Crescent brand has changed ownership multiple times. It is currently owned by Apex Tool Group but still also trades as Crescent in Australia. This pump was donated by Geoff Williams of Wodonga and was used at "Orange Vale" farm at Oxley Flats near Wangaratta. "Orange Vale" was owned by Mr. Robert Williams. Widely known as "Uncle Bob". in the 1940s Mr. Williams opened up the family property, established in the 1860s, as a camp for young people from Wangaratta. By 1951, this had extended to catering to group camps for children from Victoria, New South Wales and Queensland. 250 children could be accommodated at one time and as many as 3,000 children enjoyed the facilities each year.These pumps were important in fire fighting in a range of settings and were adapted for use in agricultural and small farm settings,A brass stirrup pump with wooden handle. It consists of 2 parallel brass pieces, one with a foot piece attached to keep the pump steady. The base of the pump is fitted with a pierced metal filter that prevents grit and debris being drawn into the pump and fouling it. 2 butterfly screws enable adjustment of height and securing a hose.crescent tools, orange vale, fire equipment

Has a strong association with the formation of the Ballarat Tramway Preservation Society, the people involved in the photograph and the closure of the SEC Ballarat system.Black and white photograph of a group of tram enthusiasts, standing in front of tram 36 photographed on May 30, 1971, used in "The Age "article on May 31 of the setting up of the BTPS by a group of young people the previous day. For the newspaper cutting see Reg. Item 1064. Photographed at Gardens Loop, Wendouree Parade. Tram has a banner advertising a meeting for the Lake Tramway Preservation meeting. Included in the catalogue worksheet is a letter seeking the permission to use the photo in the Museum's Fares Please! and the reply of The Age, seeking payment of $93.50. Was not published. Photograph purchased by the Museum from The Age, August 2002. 2487.1 - 2nd image of this scene, wider view and driver looking at the cameraman - has badge Number "41" Ex William F Scott. Reg Item 3626, image 3, gives No. 41 at the date of the list, unknown, as L. Bird. See also Reg Item 1064 for the newspaper clipping and btm 7033 for other photos of the event by Chris Phillips and tramcar notes. COPYRIGHT OF THE AGE NEWSPAPER - See paper with the worksheetsOn rear in blue ink "Copyright" stamp and details of the owners of the photograph "The Age" .2 - as above with date "1972" in pencil.tramways, trams, lake wendouree, charters, museum establishment, btps, tram 36

Set of twenty MMTB paper tickets. All have black numbers with City Section over printed in black ink where relevant. See image i1 for tickets and i2 for the rear advertisements. .1 - 4d -printed in green ink on white paper - Aa 374101 .2 - 6d - red ink on off white paper - Hg829068 .3 - 6d - City Section - red ink on pink paper - Ef779926 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting. .4 - 6d - City Section - blue ink on off white paper - Bg964676 - has a John Randle Hairdresser of 234 Collins St with a 10/- discount on cold wave or 2/- on your trim or setting, different layout to .3. .5 - 7d - black ink on a light red paper Vd906440. .6 - 7d - City Section - blue ink on off white paper - Am776471 - has an advert - "Build in Thomastown" by the promote Thomastown Committee. .7 - 10d - black ink on red paper - Bv288105. .8 - 1/- black ink on brown paper - Ae857753 .9 - 1/2 - black ink on organe paper - Qb929953 .10 - 1/5 - black ink on yellow paper - Aa610607 .11 - 1/6 - black ink on yellow paper - Yo642195 - with an Royal Victoria Institute for the blind - remember the blind children. .12 - 1/9 - black ink on blue paper - Az134009 .13 - 1/10 - black ink on green paper - Ag867676 .14 - 2/- black ink on pink paper - Ab025997 .15 - 2/2 - black in on grey paper - Aa198789 .16 - 2/6 - red ink on orange paper - Aa359687 .17 - Multiple or dual currency ticket - 7d/6c - black ink on orange paper - An576277 .18 - Multiple or dual currency ticket - 7d/6c - blue ink on white paper - An686025 .19 - Multiple or dual currency ticket - 1/- /10c - black ink on brown paper - Bb472537 .20 - Multiple or dual currency ticket - 2/- /20c - green ink on pink paper - A020313.13 - has in blue ink written on the back of the ticket "Mr G Franzke, Cosmo Rd, Trentham.trams, tramways, tickets, mmtb, decimal conversion

Dolomite is a mineral, calcium magnesium carbonate, with the chemical formula CaMg(CO3)2. It is a principle component of various rock types sometimes also referred to as dolomite, including dolostone, dolomitic marble and dolomitic limestone (according to the composition of each type). Dolomite rock is found in sedimentary basins throughout the world, comprising approximately 2% of the Earth's crust. It is formed when lime mud or limestone encounters groundwater containing magnesium. Dolomite can contain elements such as lead, zinc and copper. Dolomite and limestone are used in various construction, landscaping and agricultural processes. This specimen was donated to the Burke Museum in 1868 by Alfred Selwyn as part of the Geological Survey of Victoria. It was donated to the Museum in 1868. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole. Dolomite and limestone are mined at several locations in Victoria, including sites in the North-East of the state in Bindi and Limestone Creek. There are notable dolomite deposits in most Australian states. The dolomitised form of the mineral tends to come from older limestone deposits, formed during the palaeozoic era in marine settings, so this specimen may have come from a deposit located along a coastline in Victoria or another state. The specimen is significant as an example of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand-sized piece of pale pink dolomite (calcium magnesium carbonate) with dark grey rim and hollowed centre. geological specimen, geology, geology collection, burke museum, beechworth, dolomite, mineralogy, geological survey, alfred selwyn, limestone, calcium magnesium carbonate

This typewriter case allowed the Olivetti typewriter to be securely and free from contaminants to be totally mobile. The Olivetti typewriter company was founded in Italy in 1908 and became a leader in portable dependable typewriters.This particular typewriter contained is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. During the 1950s and 1960s was a time when British and European manufactured goods were still purchased by many Australian consumers. After the 1970s however, there was a shift, mainly in the cities, to Japanese made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasting and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item(carrying case) facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it therefore the inside compartment did not require additional storage pockets . Outback Australia, where at this point in time, good available electrical power reticulation and battery power, was a scarce and therefore could not be totally measured as a highly efficient office environment. The protective carrying bag provided the only mobile way to operate in some business and home locations.Although this typewriter cover and its typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter cover protected the expensive typewriter it contained which was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. Protection of such a typewriter was of an utmost necessity. The need for mobile expensive typewriters waned as less expensive typewriters became available. This was the major principle of the Japanese manufacturing juggernauts of the post World War II. Efficiency and low cost material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi.This is a semi hard cover (cloth over cardboard on inside, plastic over cardboard on outside), camel coloured outside and tartan cloth covered pattern inside the typewriter case. the case can be opened up by "unzipping" the top from the bottom halves of the case. For carrying purposes the case has two plastic covering metal handles with brass fittings. There are two stitched on brown reinforcement straps encompassing both sides of the case. The two reinforcing straps are brown in colour and a securing strap with a press button at one end to allow an extra securing tongue to keep the cover secure. The top inside of the case has a three quarters long paper compartment (flap style). See KVHS 0455 for Olivetti Lettera typewriter.commercial, protective carry bags/cases for mobile office equipment, mechanical typewriter

The tunes in the set of sheet music are mostly marches, jaunty and bright songs from the 1910s. The sheet music were published by W H P & Co., which was the company of William Henry Paling, Sydney. Paling was born in the Netherlands in 1825. He was a musician, composer, and violin teacher at the Academy of Rotterdam. In 1853 he arrived in Sydney where he became a piano and violin teacher and a professor of music at a ladies' college. He opened the W H Paling music warehouse around the same time, at 85 Wynyard Square in Sydney. He initiated clubs and groups, was involved in fundraising in the community, and conducted a Philharmonic Society concert. He seized the opportunity to supply the growing demand for pianos and local sheet music, becoming an agency for European manufacturers. He made several trips to Europe to supply his business. In 1875 the firm opened up premises in George Street Sydney. On his 1884-85 trip, he met Pietro Marich, an Austrian musician and businessman who then joined Piling's company and successfully expanded it into large premises with showrooms. In 1886 Piling's brother John joined the firm as partner. In 1883 it became a limited liability company, setting up in other major cities. He had many civic involvements and eventually presented his model farm at Campden for use as a hospital, along with finances to erect buildings on the land. He became ill after a trip to Europe, passing away in 1895, but the company continued in business.The collection of sheet music represents the musical and entertainment taste of the early 20th century. Sheet music was collected from Europe and locally and played in homes and public gatherings for listening to, for dancing and for background music. It was even recorded and played on portable gramophones with wax cylinders.Sheet Music wet; three sheets of printed music, comprising two large sheets with two pages of music printed on each side in black ink, and one small sheet with one page of music printed on one side in red ink. Music on the large sheets is March Music by W H P & Co. no. 1437, which is the same company as the music on the last sheet, The Music on the small sheet is Tango Music by Paling & Co. Ltd, of Sydney, and established by William Henry Paling (W H & P Co). Music Titles on the large sheets are: - - Parade of the Tin Soldiers - Guard of Honour - Irish Guards March - Slope Arms Music title on the small sheet is: - - Caro Mio Tango (My Dear) by Silvo ArnoOn the large sheets: printed "W.H.P. & CO." "1437" and handwritten in pencil "268" On the small sheet: printed "THE LATEST SUCCESS" "Try this on your piano" "Price 1/6 or Post Free 1/7, From all Music Stores, or direct from the Publishers" "PALING & CO. LTD. George-st., SYDNEY."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sheet music, music, guard of honour, parade of the tin soldiers, irish guards march, caro mio tango (my dear), w h p & co., william henry paling, pietro marich, john piling, jos j kaiser, silvo arno, leon jessel, george street sydney, early 29th century, march music, tango music

A depiction of the MS Nella Dan an active primary vessel built in 1961 by the Aarlborg Shipyard PTY Ltd, and regularly chartered by the Australian National Antarctic Research Expeditions (ANARE) in the 20th C. The ship ran aground in December 1987 and unable to be salvaged, had to be scuttled in deep water off Macquarie Island. See link above, this record. The ship was named after Nel Law wife of the Director of the Antarctic Division, DR Phil Law. "Ib Odfeldt (b. 1944) is a self-taught painter and sculptor spending many years inspired by and interest in ships and marine art whilst working as an engineer in the Danish Merchant Navy. His paintings demonstrate a keen eye for technical accuracy and skill. The balance and setting of his works have attracted interest in many commissions by lovers of marine and shipping works. In 2002 Ib was awarded the Southern Ocean Maritime Art Prize and this acquisition of the Nella Dan is presented in the foyer of the Tasmanian Maritime Museum in Hobart." (The ASMA 2019 National Exhibition - Maritime Museum of Tasmania catalogue). According to the Artist, the painting was part of an exhibition he held at "Melbourne maritime museum " (Polly Woodside) to celebrate ANARE (ARTIC SHOW). He donated two paintings of the Nella Dan. This painting was sold to Mr. Jensen when the museum couldn't accomodate the paintings due to a lack of space. Mr Jensen may have donated to the Mission. Ib Odfledt has also entered the Maritime Art Prize several times. (2012)Maritime ArtFramed , oil on board painting depicting a red hulled , single funnel ship cutting through sea iceArtist signature at lwr right corner PAINTED.: IB ODFELDT 95 At the back: Square loose label: 3076 Leonard Joel Bottom corner on the frame in Pencil: POW 2894 (National Trust accession number)nella dan, anare, antarctica, icebreakers, explorations, merchant vessels, artwork, maritime art, ib odfeldt, artwork-paintings, australian national antarctic research expeditions (anare), hobbies, asma, australian society of maritime artists

The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Seamen's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."In 1928 there were not many stained glass windows in the chapel, giving that bright light inside.2 original prints and a reprinted versionwedding, dora walker, st peter chapel, flinders street, dora simpson, lhlg, amy dora walker, molly walker, elle kendall, reverend j.r. weller, harry simpson, missals, flowers, bookcase

George Box 1808-1867 an 'agricultural labourer', of Sussex England, married Mary Cripps in 1831 and with 3 three of their 4 four sons and 3 three of their 4 four daughters left Liverpool in the Sailing Ship 'Atlanta' in March 1856 to begin a new life in Melbourne, Victoria , Australia. George and son Henry paid their own fares while sons , Francis and John, were 'assisted passengers'. Their baby daughter Cecilia Lydia died a few days into the voyage.. Caroline Box, the eldest daughter, remained in England working as a cook until she joined the family in Australia in 1863. William Box 1834-1902, the eldest son of George Box, married Elizabeth Avis 1833- 1914 and they resided in Box Cottage 1865 -1914 where they established a market garden and raised 13 children. William and Elizabeth had emigrated in 1854 so George and sons probably worked on their market garden before setting up in Tucker Road and Patterson Road. Sadly Mary drowned in a water hole only 4 months after their arrival in Brighton. Mary suffered from headaches and had occasional fits and the coroner found she passed out and died while trying to ease the pain with cold water from a waterhole. It is supposed that Elizabeth helped him raise the children while he established his market garden. George died from Tetanus following an infected broken leg caused by falling from his dray in 1867. George and Mary were both buried in the Brighton Cemetery. Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . George Box was the father of William Box who with his wife Elizabeth Avis Box and 13 children lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album : “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of George Box taken in Tunbridge Wells, England c1855Photo at base ; TUNBRIDGE WELLS Album inside cover ; Donated to / Moorabbin / Historical Society / by / Avis Box Leigh box george, box mary, box william, box elizabeth, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, tetanus

This dress was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length blue jersey evening dress with round neckline and long sleeves. Cuffs edged with blue-grey ostrich feathers. Zip at back.Label: "Van Roth / REGD". Labels on side of inner zip: "100% POLYESTER" / SIZE 14 / TO FIT / BUST 90cm / WAIST 70cm / HIP 95cm".pearl's boutique, pearl's of brighton, paula folks, van roth, melbourne designers, flinders lane, 1970s

This cape was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length bright pink rayon jersey cape with pink ostrich feathers around the collar.pearl's boutique, pearl's of brighton, paula folks, 1970s

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Locomotive 3801 - The iconic streamlined engine was built by Clyde Engineering in Granville, entering service in January 1943 and leading a distinguished career as a crack express locomotive with the New South Wales Government Railways (NSWGR). It was withdrawn from regular service in October 1965. One of its most famous achievements was setting a record (2:01:51) for non-stop running between Sydney and Newcastle on 28 June 1964 which stood for a quarter of a century. This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Train driver Fred Rochow and driver David Brown, along with 3 grandchildren on the restored Locomotive 3801 during one of its visits to Albury. On the side of the locomotive, the insignia of Clyde Engineering above the number 3801fred rochow, david brown engine driver, steam locomotives australia, locomotive 3801

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Foresters usually measure the diameter of trees at Breast Height – traditionally 4 foot, 6 inches – now 1.3 m – which is termed Diameter Breast Height Over Bark (DBHOB). Basal Area is the cross section of the tree trunk at breast height, and the sum for the stand or group of trees is expressed square feet per acre (after 1973 it was expressed in square metres per hectare). Lots of skinny trees, or a few fat ones, can have the same Basal Area, but when combined with the number of stems, Basal Area is a good indicator of stand density. Two common methods are used to measure of Basal Area – fixed area plots and angle count sampling. 1. Fixed area plots require setting out a small area, commonly 50 m x 20 m, and measuring all the trees at breast height, and doing some quick sums. 2. Angle count sampling involves a simple sweep of the forest from a fixed sampling point using a relascope, dendrometer sight, angle gauge, or glass wedge prism. This wooden builders ruler has been shaped at one end to create a shallow angle (usually less than 3 degrees). Standing in one spot, a sweep is made with the wedge held to the eye, and trees are counted as either “in” or “out”. The number of trees is multiplied by conversion factor of the wedge (10 in this case) to estimate basal area. It’s very quick and effective.Basal Area Angle Gauge The two ends fold up and one end (on the right) has been reduced in width to create a shallow angle for the viewer Home made by cutting down a wooden builder's ruler Many forestry students made their own Basal Area Angle Gauges and its thought this may be oneforest measurement, forests commission victoria (fcv)

The Adult Education Association Drama Group originally staged Liliom at the Union Theatre, University of Melbourne on Saturday, 3rd November, 1951, at 8pm and on the 8th November it was re-staged by them as the opening production of the The City of Heidelberg Repertory Company, now known as the Heidelberg Theatre Company Inc. in the Eistedford Hall, Ivanhoe. Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre.Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre. Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre Company. Photo from unidentified newspaper of the director of Liliom by Ferenc Molnar, Joy Youlden.an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951 and restaged at the Eisteddfod Hall, Ivanhoe as the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. The Adult Education Association Drama Group performers, backstage workers and technicians staged the play at the Eisteddfod Hall in Ivanhoe. Local Councillor E.A. Carlyle attended and addressed the audience. Reg Rudd is described as director-producer. He announced another Repertory evening in February. Inagural production under the name of The City of Heidelberg Repertory Company, now known as the Heidelberg Theatre Company Inc., staged in the Eisteddfod Hall, 14 Ivanhoe Parade, Ivanhoe, Victoria, Australia on the 8th November, 1952.All items in good condition. Original and one colour photocopy of hand drawn sketches for the Prologue and Scenes 2 and 3 settings in blue biro with watercolour washes on ecru paper. On the back side of paper with scene sketch of Act 1. Photo – Joy Youlden - Small black and white cutting from unidentified newspaper on newsprint which has yellowed, Cutting has been glued onto ecru A4 paper sheet. Sketch for Scene 6, The Land Beyond, and Sketch for Scene 7, Julies House 16 Years later, an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. Sketches for Scene 4, The Railway Embankment, and Sketch for Scene 5, Behind The Shop, an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. Handwritten detail of scene numbers and names, name of producer, theatre company AEA (Adult Education Association) Drama Group Show and place, Union Theatre.eistdford hall, fern matthews, city of heidelberg repertory group, adult education association drama group, liliom, liliom by ferenec molnar directed by joy youlden, 1952, 1

Set of three documents concerning the MMTB Gratuity or Pension payout scheme. .1 Top half of an A4 photocopied sheet, with a tear off slip, titled "To all employees who elected in 1955 to remain under the provisions of the "old" gratuity scheme", giving employees the option to transfer to the new scheme (see item .3), asking to return the slip by 5/9/1981. .2 - Letter, stencil cut duplicated on quarto paper on MMTB letterhead, dated 9/5/1955, advising Ron Wearne of 31 Soudan Street Malvern that he has elected to remain in the present or "old" Retiring and Death Gratuity Scheme. Typed on Loadable Parchment watermarked paper. Signed in ink by H. A. Warner Secretary. .3 - Printed document on semi gloss paper titled "Notice to Employees Retiring and Death Gratuities" setting out the comparison in payments between the old and the new schemes that was to come into effect on 1/6/1955. Has a comparison of the scales on the rear of the Notice. Dated 31/3/1955 and printed Signed by H. A. Warner Secretary. Added to images 24-9-2016. 2nd copy of .3 added 8/2/2019.trams, tramways, gratuity scheme, mmtb, retirements, pension, notices to staff

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford Landscape Designer 30. 8 .1918 - 16. 6. 1999 Eltham Cemetery Trustee fom 1987 - 1999 Gordon settled in Eltham in 1948 He was a conservationist and a pioneer of natural style landscaping, continuing design and construction until his death. His local work and influence can be seen in many private gardens, the Eltham Cemetery and the Alistair Knox Park.Born Digitaleltham cemetery, gravestones, gordon craig ford

Dora Walker, a member of the Ladies Harbour Lights Guild married H.P. Simpson on 14 February 1928. The wedding was celebrated at the Mission's chapel at 2.45pm. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."2 original prints and a reprinted version depicting the St Peter chapel decorated with flowers for Dora Walker's wedding in 1928 wedding, dora walker, st peter chapel, mission to seamen, mission to seafarers, flinders st, lhlg, dora simpson, 1928, valentine's day, amy dora walker, ladies harbour lights guild, malvern, reverend j.r. weller, molly walker, ella kendall, flowers

[from EDHS Newsletter No. 104, September 1995:] ALAN MARSHALL SCULPTURE. In our last Newsletter brief mention was made of the bronze sculpture of Alan Marshall outside the Eltham Library. Sculptor Marcus Skipper has now completed the installation of his almost life-size work. The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. Most members are generally familiar with Alan's life and work but for those not so familiar and for the sake of the record we include these brief biographical details. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters".Colour photographalan marshall, eltham library, marcus skipper, public art, sculptures

[from EDHS Newsletter No. 104, September 1995:] ALAN MARSHALL SCULPTURE. In our last Newsletter brief mention was made of the bronze sculpture of Alan Marshall outside the Eltham Library. Sculptor Marcus Skipper has now completed the installation of his almost life-size work. The setting and location are ideal and Marcus has really captured the typical Marshall character. It has attracted much favourable comment since its completion. Most members are generally familiar with Alan's life and work but for those not so familiar and for the sake of the record we include these brief biographical details. Alan Marshall, A.M., O.B.E., Hon.LL.D. (1902-1984) was born at Noorat, Victoria and became one of Australia's most famous authors. His association with the Eltham area began in 1920 when he started his first job as a junior clerk at the Eltham Shire Offices, Kangaroo Ground. In the 1940s he spent some time living at Research. From 1955 he lived in Eltham for nearly 20 years. Disabilities resulting from polio as a young child did not prevent a wide range of experiences. Alan's occupations have been listed as clerk, night watchman, fortune teller, freelance journalist and author. He has been patron of many disadvantaged Children's Societies. Alan's books are numerous and include novels, short stories, children's books, history and travel. Among the best known are his autobiographies "I Can Jump Puddles" and "This is the Grass". Others include "These are My People", "Ourselves Writ Strange", "People of the Dreamtime", "The Gay Provider" and "Wild Red Horses". In 1971 he wrote the Centenary History of the Shire of Eltham, "Pioneers and Painters".Colour photographalan marshall, eltham library, marcus skipper, public art, sculptures

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From: Glen Eira Heritage Management Plan (1996) - Vol 2 by Andrew Ward and Associates The widening of Dandenong Road during the late 1980's has resulted in the destruction of the houses in the path of the roadworks and the construction of a high fence serving as a visual barrier between that thoroughfare and the remaining houses. Where comparatively large villas once stood on spacious allotments, only "Wisteria" survives at No. 135 Normanby Road. Adopting forms and timber enrichment characteristic of the American Queen Anne style, it has this in common with the largely reconstructed timber villa at no. 11 Normanby Avenue and to a lesser extent, 746 Inkerman Road. Normanby Road retains its comparatively opulent Edwardian character in a mature landscaped setting with spacious gardens and mature planes parallel with the railway reserve which, on account of the low lying ground in its vicinity has a high embankment commencing on the alignment of Malvern Grove and continuing to Caulfield Station. The earliest villas are Edwardian. Page 148 of Photograph Album with one landscape photograph of a house on Normanby Road (not Street).Handwritten: Normanby St [top right] / 148 [bottom right]trevor hart, verandah, porch, bull nosed verandah, tower house, tower, stone fence, normanby road, wisteria, american queen anne style, queen anne style, 1890's, mayfield grove, normanby street, timber houses, caulfield north, house names, edwardian, edwardian style, gardens

Anna Box 1849- 1919 was born in Withyham, Sussex England had her 7th birthday en route from Liverpool to Australia. George Box 1808-1867 of Sussex England, married Mary Cripps in 1831 and with 3 three of their 4 four sons and 3 three of their 4 four daughters left Liverpool in the Sailing Ship 'Atlanta' in March 1856 to begin a new life in Melbourne, Victoria , Australia. Their baby daughter Cecilia Lydia died a few days later. Caroline Box, the eldest daughter, remained in England working as a cook until she joined the family in Australia in 1863. William Box 1834-1902, the eldest son of George Box, married Elizabeth Avis 1833- 1914 and they resided in Box Cottage 1865 -1914 where they established a market garden and raised 13 children. William and Elizabeth had emigrated in 1854 so George worked on their market garden before setting up in Patterson Road. Sadly Mary drowned in a water hole only 4 months after their arrival in Brighton. It is supposed that Elizabeth helped George raise the children while he established his market garden. George died from Tetanus following an infected broken leg caused by falling from his dray in 1867. Anna was a dressmaker and in 1881 she married Henry Pay , a painter, from London and they had 3 children . In 1907 the family lived on a 30acre property in Ringwood. which Anna bequeathed to her children. – Beatrice, Norman and Laura. In 1911 they moved to Surrey Hills where Anna died in 1919. Henry died in 1935 in Montrose where he was living with his son Norman Henry Pay, a farmer . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who, with his wife Elizabeth Avis Box and 13 children, lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. George Box 1808-1867 migrated in 1856 and worked with his son William Box until he established a market garden in Patterson Rd . East Brighton ( now Bentleigh). Anna Box –Pay was the 3rd daughter of George and Mary Box. A black and white photograph of Anna Box 1849-1919nilbox anna, pay henry, pay norman, box william, box elizabeth avis, box george, box mary, moorabbin, bentleigh, brighton, ormond, market gardeners, pioneers, early settlers, withyham sussex england, ringwood melbourne, pay beatrice, pay laura, st kilda, melbourne,

Anna Box 1849- 1919 was born in Withyham, Sussex England had her 7th birthday en route from Liverpool to Australia. George Box 1808-1867 of Sussex England, married Mary Cripps in 1831 and with 3 three of their 4 four sons and 3 three of their 4 four daughters left Liverpool in the Sailing Ship 'Atlanta' in March 1856 to begin a new life in Melbourne, Victoria , Australia. Their baby daughter Cecilia Lydia died a few days later. Caroline Box, the eldest daughter, remained in England working as a cook until she joined the family in Australia in 1863. William Box 1834-1902, the eldest son of George Box, married Elizabeth Avis 1833- 1914 and they resided in Box Cottage 1865 -1914 where they established a market garden and raised 13 children. William and Elizabeth had emigrated in 1854 so George worked on their market garden before setting up in Patterson Road. Sadly Mary drowned in a water hole only 4 months after their arrival in Brighton. It is supposed that Elizabeth helped George raise the children while he established his market garden. George died from Tetanus following an infected broken leg caused by falling from his dray in 1867. Anna was a dressmaker and in 1881 she married Henry Pay , a painter, from London and they had 3 children . In 1907 the family lived on a 30acre property in Ringwood which Anna bequeathed to her children. – Beatrice, Norman and Laura. In 1911 they moved to Surrey Hills where Anna died in 1919. Henry died in 1935 in Montrose where he was living with his son Norman Henry Pay, a farmer . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who, with his wife Elizabeth Avis Box and 13 children, lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. George Box 1808-1867 migrated in 1856 and worked with his son William Box until he established a market garden in Patterson Rd . East Brighton ( now Bentleigh). Anna Box –Pay was the 3rd daughter of George and Mary Box. 2 black and white photographs that may be of A ) Anna Box and B) her husband Henry Pay A) nil B) J P LIND Photo 82 Swanston St.box anna, pay henry, pay norman, box william, box elizabeth avis, box george, box mary, moorabbin, bentleigh, brighton, ormond, market gardeners, pioneers, early settlers, withyham sussex england, ringwood melbourne, pay beatrice, pay laura, st kilda, melbourne

Anna Box 1849- 1919 was born in Withyham, Sussex England had her 7th birthday en route from Liverpool to Australia. George Box 1808-1867 of Sussex England, married Mary Cripps in 1831 and with 3 three of their 4 four sons and 3 three of their 4 four daughters left Liverpool in the Sailing Ship 'Atlanta' in March 1856 to begin a new life in Melbourne, Victoria , Australia. Their baby daughter Cecilia Lydia died a few days later. Caroline Box, the eldest daughter, remained in England working as a cook until she joined the family in Australia in 1863. William Box 1834-1902, the eldest son of George Box, married Elizabeth Avis 1833- 1914 and they resided in Box Cottage 1865 -1914 where they established a market garden and raised 13 children. William and Elizabeth had emigrated in 1854 so George worked on their market garden before setting up in Patterson Road. Sadly Mary drowned in a water hole only 4 months after their arrival in Brighton. It is supposed that Elizabeth helped George raise the children while he established his market garden. George died from Tetanus following an infected broken leg caused by falling from his dray in 1867. Anna was a dressmaker and in 1881 she married Henry Pay , a painter, from London and they had 3 children . In 1907 the family lived on a 30acre property in Ringwood. which Anna bequeathed to her children. – Beatrice, Norman and Laura. In 1911 they moved to Surrey Hills where Anna died in 1919. Henry died in 1935 in Montrose where he was living with his son Norman Henry Pay, a farmer . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . William Box who, with his wife Elizabeth Avis Box and 13 children, lived and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841. George Box 1808-1867 migrated in 1856 and worked with his son William Box until he established a market garden in Patterson Rd . East Brighton ( now Bentleigh). Anna Box –Pay was the 3rd daughter of George and Mary Box. 2 black and white photographs that Avis Box Leigh thinks may be Anna Box c1880A unreadable B Ferry 49 Elizabeth St . Melbournebox anna, pay henry, pay norman, box william, box elizabeth avis, box george, box mary, moorabbin, bentleigh, brighton, ormond, market gardeners, pioneers, early settlers, withyham sussex england, ringwood melbourne, pay beatrice, pay laura, st kilda, melbourne

Druids are known to exist from around the 3rd century B.C. Their name may have come from a Celtic word meaning “knower of the oak tree.” Many of their ceremonies were carried out in oak groves, which they considered sacred and members were, at that time a mix of priest, judge, doctor and philosopher. The Druids enjoyed a revival in the 19th century and were taken up enthusiastically during the Victorian era. Druidry was believed to have been introduced into Australia in 1851 with the setting up of the first lodge in Melbourne under the name United Ancient Order of Druids. Unlike the Freemasons, the Druids were not a secret society and were not selective in who they let in, as long as they paid their dues and acted more like a benevolent society than a spiritual movement. "They originally operated when there were few benefits available from the government or employers and the introduction of sick leave and other employer provided benefits, combined with the gradual introduction of government subsidised medicine, caused the need for them to diminish." Druids House — in Swanston Street, was opened by the Lord Mayor in 1927 and was designed to be the movement's national head office. It was completed at a cost of 19,000 pounds. This photograph was believed to have been commissioned by the Druids of Bendigo to the Licensees of the Queens Head pub where they regularly met, situated on the corner of the Bendigo-Maryborough Rd & the Calder Alternate Hwy ( Lockwood Cross Roads). The old Marong Council offices were situated opposite from 1864 until around 1908 when new offices were then built in Marong. It is believed that this photograph and a photo of the pub were given to Marong Shire by descendants of the publicans, probably in the 90’s. Framed black and white group photographic portrait of 37 members of the Sandhurst Chapter of the Druids staged and shot outdoors. Each of the gentlemen is carrying a bouquet of flowers. The photograph has a gold inner mount with the second mount cut to give the impression of a frame. The outer mount is hand painted with botanical motifs and elaborate text c.t. DRUIDS Sandhurst Lodge/ No 247. l.c Presented to Mr and Mrs Chadwick / Lockwood / in recognition for kindness rendered.W. G. Robinson / Photo and J.H. Gribble / Long Gully / 1,11,10robinson photographer, j.h.b. gribble artist, chadwick, shire of marong, city of greater bendigo portraits, city of greater bendigo community groups

This is a set of 1photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement equipment. They were probably employed in establishing mapping and geodetic control operations or the surveyors may have been in training. The photos were most likely taken in the 1950s and 1960s. Photos .1P to .6P feature personnel setting up geodetic survey chaining equipment to measure distances. The surveyor in Photo .5P is LTCOL Howard Angus Johnson MBE who served from 1936 to 1954. The RA Svy surveyor in photos .7P to .12P were using a theodolite to take angular measurements. They were usually supported by an observer who recording their readings on a booking form. The surveyor in Photo .10P and .11P is LTCOL Jorge Gruszka, who served from 1955 to 1985. He was CO of the Army Survey Regiment from 1982 to 1985. The surveyor in photo .13P is cutting an identification blaze on a tree using a hammer and chisel. The tellurometer in Photos .14P to .16P was a MRA1 microwave Electronic Distance Measuring instrument (EDM) introduced in 1958. It and later models were man-portable systems that improved geodetic survey efficiencies for rapid network extension and densification replacing triangulation with EDM and theodolite traverse sometimes using Bilby Towers to extend line lengths. The surveyor with the slouch hat is Colonel James ‘Jim’ Leslie Stedman, who served from 1941 to 1978. He was Director of Military Survey from 1975 to 1978 and was appointed as Colonel Commandant (honorary appointment, Retd) of the Royal Australian Survey Corps from 1978 to 1983. Jim Stedman is demonstrating EDM equipment.This is a set of 17 photographs of surveyors in the field measuring distances using chains, taking observations using theodolites and operating electric distance measurement (EDM) equipment. c1950s – 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1950s, unidentified personnel using geodetic survey chaining equipment. .2) to .4) - Photo, black & white, c1950s, geodetic survey chaining equipment. .5) – Photo, black & white, c1950s, Jim Stedman using geodetic survey chaining equipment to measure distances. .6) - Photo, black & white, c1950s, Unidentified personnel geodetic survey chaining equipment. .7) – Photo, black & white, mounted on card, c1950s. Unidentified surveyor undertaking observations on a coral reef using a theodolite. .8) – Photo, black & white, c1950, unidentified surveyor undertaking observations with a Tavistock theodolite. .9) – Photo, black & white, mounted on green card, c1950s. Unidentified surveyor undertaking observations using a plane table. .10) – Photo, black & white, c1955, Jorge Gruszka undertaking observations with a theodolite. 7/55 Basic Survey Course Balcombe. .11) – Photo, black & white, c1950s, Jorge Gruszka undertaking observations with a theodolite. .12) – Photo, black & white, c1946-1948, unidentified surveyor undertaking observations with a theodolite to gain control for the mapping of the Snowy Mountain Diversion Scheme. .13) – Photo, black & white, c1950s, unidentified surveyor cutting a blaze in a tree. .14) and .15) – Photo, black & white, c1960s, Jim Stedman demonstrating EDM equipment. .16) – Photo, black & white, c1960s, L to R: Jim Stedman (probably) and unidentified surveyor demonstrating EDM equipment. .17) – Photo, black & white, c1950, unidentified surveyors undertaking observations with a theodolite in extreme conditions..1P on back - First Order Chaining Equipment .2P on back - First Order Chaining Equipment .3P on back - Full catenary 1800 – 1960 replaced by EDM .4P on back - First Order Chaining Equipment .5P on back - H.A. Johnson, Benambra baseline? 1st Order Chaining .6P on back - Chaining .7P on front - Difficult observing conditions especially when the tide is in. The station is sighted (sic) on a coral reef. .8P on back - Tavistock. .10P on back of duplicate in Photo Folder 14 – George (sic) Gruszka 7/55 Basic Survey Course Balcomme (sic) 1955/56 .14P and .15P on back - Jim Stedman demonstrating early EDM equipment.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, surveying