Various Photographs donated by Mary-Anne Connors in 2006 after the death of her mother MaryMary Connors (nee Lee). 1. Photocopy of a photograph at her graduation in 1953. 2. Photograph in The Argus July 16, 1953 with caption, "Mary Lee looks business-like as she prunes a pear tree at Burnley. Fruit growing is included in the course." Various Photographs donated by Mary-Anne Connors in 2006 after her death, including newspaper article, "Call of the outdoors: Girls with 'Green Fingers', Careers for Girls." in The Argus July 16, 1953 p.16.mary connors ( lee), graduation, 1953, mary-anne connors, newspaper articles, nursery catalogues, british botanists, john gilmour, certificate of competency, careers for girls

Photograph Album sent in with the National Estate/Heritage Register by Sandi Pullman. (1) Old car park (Bull Paddock) with Cork Oak. (2) Main Building front steps. (3) Main Building with Magnolia grandiflora. (4)View of Luffmann Ponds and old willow. (5) View of Ginkgo and Emily Gibson bed. (6) Looking between Emily Gibson beds to English Oak. (7) Summer House. (8) Luffmann Ponds. (9) Bergenia Walk with conifers. (10) View of Pencil Pines around entrance to Sunken garden. (11) Luffmann Ponds and Pinus canariensis. (12) View of entrance to Sunken garden. (13-14) Sunken garden. (15) Original terracing at entrance to Shady Walk. (16) Pears in blossom in Field Station. (17) Agathis robusta from the Herb Garden. (18) Ellis Stones Rock garden newly replanted. (19) james Hitchmough Grasslands. (20) Elm tree with Dairy in the background. (21) Original Red Gum in james Hitchmough Grasslands. (22) Kath Deery Native garden. (23-24) Rose Garden. (25) Sequoiadendron giganteum.national estate, heritage register, sandi pullman, sandra pullman, bull paddock, cork oak, magnolia, luffmann ponds, willow, ginkgo, emily gibson bed, english oak, summer house, bergenia walk, conifers, pencil pines, sunken garden, pinus canariensis, shady walk, pears, blossoms, field station, agathis robusta, herb garden, ellis stones rock garden, james hitchmough grasslands, elm tree, dairy, red gum, kath deery native garden, rose garden, sequoiadendron giganteum.

Photographs of various sizes pasted on cardboard for display purposes. Some annotated. (1) (2) Difference between leaf and fruit buds. (3) "The 'rod' or whip is most suitable plant to commence training." (4) Planted and pruned fruit tree. "School of Horticulture and Primary Agriculture Burnley B. 1 " stamped on reverse. (5) "Pear Tree-Unpruned (1) June." (6) "Same Pear Tree-Pruned (2) June." (7) Young unpruned "William bon Chretien". Reverse, Burnley Stamp. (8) Same tree pruned. Reverse, Burnley Stamp. (9) Unpruned pear tree. (10) "Narrabben" plum before inserting branch spreaders. (11) With branch spreaders. (12) Close up of some of its branches without spreaders. (13) Close up of branch with seaders. (14) Plum tree with spreaders. (16) Close up of fruiting spurs. (17) "Apple Blossom Oct. Reverse, p 163(Oct." )(18) Same photograph enlarged. (20) Close up of fruiting buds. (21) Old unpruned apricot tree. (22) "Unpruned branch of apricot tree." (23) Close up of apricot branch. (24) "Same branch-apricot-pruned June Reverse, p99 (June)."(25) Pruned branch stump of mature fruit tree.(26) "Clean saw cuts with sharp knife." (27) "Treat all large wounds on trees to avoid infection by wood rotting fungus." (28) "Apply coating of lead paint or grafting mastic." (29) "Branch of lemon-unpruned Aug. Reverse, p157 (Sept.)." (30) "Same branch of lemon-pruned Aug. Reverse, p 157 Aug."(31) "Young climbing rose-ready for planting-July." (32, 33) Grape vine before pruning. (34) Same vine pruned and trained. (35) Older vine pruned.fruit bud, rod, whip, school of horticulture and primary agriculture, burnley, pear tree, spreaders, plum tree, apricot tree, fungus, lead paint, lemon, roses, grape vine, leaf bud, training, fruiting spurs, apple blossom, grafting mastic

A very badly damaged hardcover book, Little Folks: a British magazine for the young. This is a bound edition for children. The front cover has an illustration of two girls standing beside a fence feeding a pony leafy greens from a basket. The back cover has two advertisements: one for Pear's soap and one for Cadbury's cocoa. There are black and white illustrations throughout. The spine has come apart from the two loose covers and many pages are torn and dog-eared. Some are missing. 426p. Inside on p.179 there are pressed leaves.fictionA collection of magazine stories, poems, puzzles, music for young children bound into a hardcover book. It dates around late 1800's to early 1900's. children's fiction, children's stories

The Axis Kettle was developed through the EcoRedesign project funded by the Federal Government and based at RMIT in the 1980s and 1990s. The project involved the expertise of significant Victorian designers such as Paul Taylor, Gerry Mussett, Liam Fennessy and Michael Grima, as well as prominent sustainability experts such as academics John Gertsakis, Chris Ryan and Alan Pears. Axis changed the way kettles were used, guiding users to save resources through their behaviour. It is regarded globally by academics from prominent design institutions such as Loughborough and Delft as one of the first successful eco-design projects. The drawing is part of the Centre for Design collection, RMIT University. Simon Lockrey, 2017 The drawing is historically significant as an early eco-design project. Design drawing of KambrookKettle by Paul Taylor for Form Australia as part of the Centre for Design at RMIT University, featuring electric kettle drawn in black pen + ink with blue ink where kettle lid is. Written design descriptions appear along side the image and title below.LID / SANHOPRENE / GRIP / RECYCLED SKIN / ELECTRIC KETTLE. c 12TH FEB. '93household appliances, industrial design, sustainability, rmit university

Published by Dept. of Agriculture Division of Horticulture Victoria. Harcourt district exported immense quantities of apples and pears, each box containing fruit that had been sized (by diameter) so as to have uniform-sized fruit in the box, wrapped in tissue paper, all packed base- or stem-end against the cheek of its neigbouring piece, to restrict movement/bruising of the apples in transit. A colourful label on the end of the box had a space to insert the size and count, i.e. the number of pieces of fruit in the box. If the packer followed the chart the count was determined from the chart by reference to the diameter of the fruit as it came off the grader. Harcourt’s reputation for quality fruit was enhanced by the ability to deliver uniform-sized blemish-free and unbruised fruit which then attained premium prices in the market, contributing to the prosperity of the district. The packing chart was a vital aid In order to achieve this.Chart- two-sided black text on white paper pasted to backing board depicting columns and figures describing the required measurements for packing Rome Beauty Apples and Granny Smith Apples. 1 x pink foolscap card with black type, 1 x green foolscap card, 1 x yellow double sided foolscap card Packing Chart for Rome Beauty Apples in Friday Moulded Trays Telescopic Carton Inside Measurements 19 3/4" x 11 7/8" x 11 1/2". W. H. Harris Senior Fruit Packing Instructor August 1968. The same wording appears on the opposite side of chart with the words Granny Smith apples replacing Rome Beauty Apples

This ceremonial regalia belonged to Captain Charles Rogers of the Australian Army (Light Horse Regiment). He wore this regalia when he was part of the mounted Guard of Honour during the visit of the Duke of Gloucester in 1934. The visit was part of Victoria’s Centenary celebrations and the Duke officially opened the Melbourne Shrine of Remembrance. Charles Rogers was a well-known Warrnambool identity in the 1930s, 40s and 50s as a horseman and Army identity and he and his horse frequently led parades and celebrations in the city. He was a long-serving Warrnambool Agricultural Show official as a judge of equine events. Rogers died in 1961. These items are of great interest as examples of the regalia worn by Australian military personnel in the 1930s. They are also good mementos of Charles Rogers, a notable personality in Warrnambool in the 1930s, 40s and 50s.1 This is a piece of ceremonial regalia worn over the shoulder and called an aigullette. It has a plaited silver-coloured cord ending in silver metal tagged points. The metal points or stakes are highly decorated. The cords also have an accompanying smaller silver-coloured cord and another attachment of cord with an end of interwoven material in the shape of an elongated pear or acorn. The item is a little tarnished. .2 These are epaulettes worn on the shoulder. One is attached to the aigullette and the other is detached. They are made of silver plaited cord with a brown felt backing and have two star-shaped gold and yellow badges indicating the rank captain charles rogers, duke of gloucester visit, centenary of victoria, history of warrnambool

Photographs in "The Australasian," February 18th, 1899 and a short piece, "Horticulture for Ladies." (1) "Horticulture for Ladies: Students at the School of Horticulture Burnley." Women standing and seated outside the Pavilion, including Mrs. Luffmann. (2) "Mrs. Luffman arranging committees." Mrs. Luffmann and 4 women outside the Pavilion. (3) "Mr. Luffman giving a lesson in prune-drying." (4) A cartoon, 'Trumped. Santa Claus (paralysed). - "Great Heavens! The girls have hung up their bloomers." - (Harper's Weekly.") (5) "A weighty crop: Beurre-de-Capiaumont pear tree in the School of Horticulture grounds, Burnley."australasian, female students, charles bogue luffman, harper's weekly, luffmann, mrs luffman, pavillion, prune drying, cartoon, pear tree, orchard

Most were used in various capacities at Ballarat School of Mines or University of Ballarat.Assorted lamps including Edison Carbon filament light bulbs and other special purpose lamps, .1-3) Robertson, pear shaped 220 V 16, carbon filament? bayonet light bulb with 'nipple'. .4) Ediswan, standard shaped, 928, carbon filament? bayonet light bulb with 'nipple'. .5) (B in a circle) 280 V 32 oo1A, pear shaped, carbon filament? bayonet light bulb with 'nipple'. .6-7) Crompton? standard shaped, carbon filament? bayonet light bulb. Clear glass with an amber tint. .8) 230-240 V 40 W, pear shaped, wire filament bayonet light bulb. .9-10) Osram standard shaped, heavy spiral and disc electrodes, bayonet light bulb. (The disc is loose in 10) .11 a&b) Osram black glass, large standard shaped, 230-240 V 125 W, bayonet light bulb. .12) Philips tubular shaped projector lamp with instruction leaflet. .13) Philips tubular shaped projector lamp with instruction leaflet in original box. .14) EH JA 12 V 55 W small projector lamp. .15) Large special purpose, standard shaped, frosted bayonet light bulb. .16) Siemens, standard shaped, modern Edison screw light bulb. .17) Philips, standard shaped, modern Edison screw, frosted light bulb. .18) Crompton, gas filled 240 V 75 W, standard shaped, bayonet frosted light bulb in original box. .19) Crompton, gas filled 230 V 300 W. standard shaped, large modern Edison screw light bulb. .20) Probably an extension cord with a bayonet fitting at one end connected by a twisted cord of two fabric covered wires to a large socket. This socket has a copper Edison screw inner, surrounded by a ceramic tube and covered with a copper housing. The housing is cracked in two places.Some have makers brand and voltage and wattage stamped onto the glass.scientific instrument, ballarat school of mines, globes, edison, lamps, light bulbs, bayonet

Article in "The Age" February 16, 1949 about students: Heather Hill (1949), Shirley Stewart-Foster, L.M. Moore, Margot Bignall (1949) and Evelyn Nicholls (1949).the age, students, female students, heather hill, shirley stewart-foster, l.m. moore, margot bignall, evelyn nicholls, power lawnmower, dahlias, pears, plant research laboratory, students working outside

Former family home of Mr. Frederick Eldred (Fred) Griffith in the 1950s, where present day Griffith Park is situated on the Yarra River at Eltham. Fred Griffith was also a Councillor (1945, 1951-1953) and former Shire President (1951) of the Shire of Eltham. Faye Walker (nee Harris) spent her first ten years living in the house. She recalls "there was a huge tin shed to the rear but toward the east of the house. I assume this is what people were thinking of when reference was made to the ‘’packing shed’. When I was small in the 50s, the shed was no longer being used for fruit packing but by the Griffith family as storage. Many of the pear trees remained but were no longer a commercial venture. We used to sneak up to the shed to read the National Geographic Magazines."griffith park, eltham, frederick eldred griffith, faye walker (nee harris) collection

It is unknown what this item was a pattern for.One flat piece of rectangular wood with a hole on the top - center and two nails, one at the top left corner, one at the bottom - RH corner. A second piece of wood is attached on top of the first; it is smaller in width and split exactly in two. There is a design cut out of second piece in shape of a pear. Bulbous part of design is centered around a hole in the first piece of wood. Three nails protrude from the second piece of wood. Three nails in the second piece of wood are located; one in each section of the more bulbous end of cut-out, & third on one section of the smaller end of cut-out. Hole on bottom of wood does not go all of the way through.

Hurley, Sir Thomas Ernest Victor (1888-1958) was gifted this Probyn Williams inhaler in 1914. After studying at Melbourne University, Victorian-born Hurley was a Medical Officer at the Royal Melbourne Hospital until he commenced private practice in Collins Street. He was appointed Captain Australian Army Medical Corps, AIF and served in Gallipoli with the 2nd Field Ambulance. He served in Enypt, London, and the Western Front during World War 1. He gained a Companion of the Order of St George and St Michael in 1917. Upon return to Melbourne he held positions such as surgeon to Victoria Police (1928-1956), elected to Council of the Victorian branch of the British Medical Association, member of the Charities Board of Victoria and foundation member of the Royal Australasian College of Surgeons and chaired the Flying Personnel Research Committee m a consulting surgeon at the Royal Melbourne Hospital. This apparatus is transitional between Clover's and Hewitt's having Clover's narrow "ways" and compact size, but using Hewitt's ether-control lever.Black round topped box with brass hooks [missing] at front and brass hinges at rear. The initials T.E.V.H. are printed in gold leaf on the front. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. The pear-shaped mask is made of metal. There is also a metal ether measure for pouring the ether. The metal inhaler is ovoid shaped. The rotating gauge has a series of numbers engraved onto the inhaler for measurement. There is an elbow joint attaching a re-breather bag, with a small amount of waxy paper remaining attached with a thin ribbon. There is a small glass bulb encased in a metal housing. Printed in gold leaf on front of box: T.E.V.H. •Printed in gold leaf on inside lid of box: MAYER & MELTZER / LONDON / MELBOURNE & CAPE TOWN •Engraved on side of inhaler: PRESENTED / TO / T.E.V. Hurley Esq.,M.D.M.S. / by / THE M.S.S. / 15.6.14. •Engraved on reverse side of inhaler: PROBYN WILLIAMS / ETHER INHALER •Moulded into connector on elbow joint: MAYER & MELTZER •Stamped into base of metal pourer: MAYER & MELTZER / LONDON •Blue sticker with white printed text on front of inhaler: O.2.21.hurley, thomas ernest victor, probyn williams, university of melbourne, world war 1, wwi, gallipoli, australian army medical corps, medical student society, mayer & meltzer, clover, joseph, hewitt, fredrick william

Shiny black covered exercise book with hand written notes and ink illustrations, titled Nature Notes. Initials in the front J.C. 9/10/40. Written index in the front. Items mentioned are: The Dahlia, The peach, The Pear, The Cosmos, The Bathurst Burr, Autumn Leaves, Jonquil, Roots, The Wattle, Orange, An Insect, Mantis, Magpie, Mosquito, Termites, Jackass, Spider, Earth-worm, Violet, Cape-weed, Iceland Poppy, Beaks of Birds, Feet of Birds, The Snail, The Rose, Emperor Gum Moth, The Bee and the Chrysanthemum. From Page 101 on Observations in Nature. Book also includes the loose printed notes pasted to orange card titled Air, Evaporation and Smells and Growing Chrysalis. Some Nature Notes in the form of a diary at the back of the book.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - nature notes, observations in nature

A yellow hardcover fiction book for children with a coloured picture of children playing a game of red indians outside a decorated teepee. The girl is cooking with a pot over an outdoor fire and the boys are firing a bow and arrow and painting a pot. The title, The Prize is printed at the at the top of the cover in red lettering surrounded by a boy and girl each side. Publisher details are at the bottom. The spine is brown tape. The back cover has a faded red advertisement for Pears Soap.There are advertisements on the endpapers at both front and back. There is foxing and tanning noted on the edges of the pages. There are stories and poems written by various authors and black and white illustrations and coloured plates throughout. The title page is very ornately decorated with a black and white floral design and covered by a tissue paper page. The coloured frontispiece is of three boys playing soldiers with one sitting on a rocking horse. There are Contents, Poetry and List of Illustrations pages. 164p.fictionA collection of varied stories and poems for young children - 1918 ed. There are practical articles as well, such as some on gardening.children's fiction, poetry

Allwood, Hurstbridge, 1899. Gray family in the garden in front of the Victorian style Allwood house with lace iron work on the verandah. Left to Right: - , - , William George Gray (3rd from left),. Frances Ellen Gray (nee Hurst) and William Hurst Gray (on lap). Carrie Sharp, Rob Sharp, Holmstrong. Frederick and Catherine Hurst relocated this Victorian style weatherboard home from an inner Melbourne suburb to its present site on their Allwood property. Mr Charles Verso, builder and farmer, reassembled and refurbished the home for the Hurst’s. In 1897 Frederick and Catherine’s daughter, Frances Ellen, married William (Bill) George Gray of Cottlesbridge and the newlyweds moved into the new house. Frederick and Catherine Hurst moved into a little cottage, ‘Mia Mia’, on the other side of the Diamond Creek. William and Frances Gray established Allwood Nursery and by 1900 most of the Allwood property was under orchard, largely apples, pears, cherry plums and peaches. They also developed an extensive nursery, growing seedling stock for supply to other local orchardists and the overseas market. Cross Ref: Sepp_1022 This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, hurstbridge, allwood, carrie sharp, frances ellen gray (nee hurst), holmstrong, hurst family, rob sharp, william (bill) george gray, william hurst gray

Allwood, Hurstbridge, 1905. Hurst/Gray family in the garden in front of the Victorian style Allwood house with lace iron work on the verandah. Left to Right: Whittaker, Mrs. Catherine Hurst, Frederick George Hurst (at rear), Hurst Gray, Mrs. Frances Ellen Gray (nee Hurst), William (Bill) George Gray, Sylvia Gray (later Birch). Frederick and Catherine Hurst relocated this Victorian style weatherboard home from an inner Melbourne suburb to its present site on their Allwood property. Mr Charles Verso, builder and farmer, reassembled and refurbished the home for the Hurst’s. In 1897 Frederick and Catherine’s daughter, Frances Ellen, married William (Bill) George Gray of Cottlesbridge and the newlyweds moved into the new house. Frederick and Catherine Hurst moved into a little cottage, ‘Mia Mia’, on the other side of the Diamond Creek. William and Frances Gray established Allwood Nursery and by 1900 most of the Allwood property was under orchard, largely apples, pears, cherry plums and peaches. They also developed an extensive nursery, growing seedling stock for supply to other local orchardists and the overseas market. Cross Ref: Sepp_1018 Source: Mrs. Ferguson, Hurstbridge This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Print 20 x 25 cm (x2)shire of eltham pioneers photograph collection, hurstbridge, hurst family, sylvia gray, hurst gray, whittaker, allwood house, allwood, frederick george hurst, gray family, mrs. catherine hurst, mrs. frances ellen gray (nee hurst), william (bill) george gray

Twenty eight drinks and food labels: J.O'Connell and Sons. Bendigo Prize Lemonade. J.O'Connell and Sons Bendigo Lime Flavor and Soda. D. Oswald Eaglehawk Hop Ale. XXXX Stout bottled by Glover and Son Chapel St. Bendigo. C.J. Glover Chapel St. Bendigo Ginger Punch. J.O'Connell Orange Vita - Ok Orange - Grapefruit and Soda - Brewed Ginger Beer - Ginger Sherry - Kola Beer - Soda Water - Pineapple. Dan Oswald tomato sauce. Glover and Son Tomato Soup. Qt Orange fruit Drops. Cottee's Sparkling Passiona. Lagoon Confection Long Toms. Bartlett Pears. The Bendigo Preserving Co. Golden Bar Orlean Plum Jam. Bendigo Preserving Co. Apricot Jam. Bendigo Preserving Co. Plum and Raspberry Jam. Golden Holme Apples. Rosella. Cottee's sparkling Drinks. Chocolate Cream Toffees. Lagoon Spearmint.business, retail

20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#40 3 News from the Register 4 Unique artworks by Melbourne “re-emerging “ artist. Veronica Caven Aldous 5 Art among the guntrees – an unusual gallery at Tanja Kerry-Anne Cousins 6 Karen Ferguson’s Pear Tree (memento mori) Penny Peckham 7 Plus, Loris Button, Sally Miller & Maryanne Coutts Dr Nola Stratford 9 Women’s Suffrage in Victoria – Exhibition Margaret Gurney, A bare and beautiful exhibition 10 Art and Healing, paintings by Rosemary Mangiamele- Julianne Lewis 11 Sufferance: women’s artists’ books State Library of Queensland 12 Wise Reflections Dr Alison Richardson 14 Give up today… Naomie Sunner 15 Opportunities 17 Back issues 19 Membership details veronica caven aldous, kerry-anne cousins, karen ferguson, penny peckham, loris button, sally miller, maryanne coutts, dr nola stratford, margaret gurney, rosemary mangiamele, sufferance: women’s artists’ books state library of queensland, dr alison richardson, naomie sunner

A badly damaged vintage 1915 hardcover children's book with the title Chatterbox. printed in white lettering at the top of the front cover which has a green coloured background with an illustration in a large circle of a dog with a red bandana wrapped around its head, lying in a straw lined box. A black cat is sitting looking at the dog and is wearing a blue ribbon with a bow around its neck. It is sitting near the dog's food bowl. The yellow and red coloured outside of the back cover has an advertisement for "Pears" soap with 'The Night of the Bath' printed underneath. The title page is missing as is the frontispiece coloured illustration usually found in these books. The pages 1 - 18 are missing. There are black and white illustrations, diagrams and coloured plates in the collection as well as puzzles, poetry, and stories for children. Pp. 400. The endpapers have several advertisements related to children, their health, food and sweets included. Its condition shows it was very well used.fictionA vintage 1915 Chatterbox collection of puzzles, poetry and stories for children with black lined illustrations and coloured plates throughout. children's books, books, children's stories, adventure stories

This collection of twenty photos was most likely taken in Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo in 1986. Print Troop’s technicians were most likely operating the Komoni, Planeta or Ultra-MAN-III offset printing presses and working in the map despatch dock. Although these photos are not annotated most personnel are positively identified.This is a set of twenty photographs of Print Troop personnel and equipment from Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo, 1986. The photographs were on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1986, Original Heidelberg Printing Press. .2) - Photo, black & white, 1986, Original Heidelberg Printing Press, unidentified technician. .3) - Photo, black & white, 1986, Heavy-duty paper guillotine. .4) - Photo, black & white, 1986, Polygraph Heavy-duty paper guillotine. .5) - Photo, black & white, 1986, Newkoni Komori Printing Press .6) - Photo, black & white, 1986, Ultra-MAN-III Printing Press, Russ Mollenhauer. .7) - Photo, black & white, 1986, Print roller cleaning tank .8) - Photo, black & white, 1986, Planeta Polygraph Printing Press .9) - Photo, black & white, 1986, Planeta Polygraph Printing Press .10) - Photo, black & white, 1986, Roy Hicks, unidentified technician, Steve Egan, Dale Hudson. .11) and .12) - Photo, black & white, 1986, L to R: Paper drilling machine, wire stitcher. .13) - Photo, black & white, 1986, Map Despatch dock, Greg Rowe. .14) - Photo, black & white, 1986, Print area, Pear Andersen. .15) - Photo, black & white, 1986, Map Despatch dock, Pear Andersen. .16) - Photo, black & white, 1986, Map Despatch dock, .17) - Photo, black & white, 1986, Map Despatch dock, Russ Mollenhauer. .18) - Photo, black & white, 1986, Map Despatch dock, unidentified technician. .19) - Photo, black & white, 1986, Map Despatch dock. Peter Dillon, Mick Minchin. .20) - Photo, black & white, 1986, Map Despatch dock.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, printing

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig

A vintage 1918 hardcover children's book with the title Chatterbox printed in white lettering at the top of the front cover which has a green coloured background with an illustration in a large circle showing a boy and girl playing in hay. The publisher details are printed at the bottom. It is bound on the left side with red tape. The cream and red coloured back cover has an advertisement for "Pears" soap 'This only is the witchcraft I have used' showing a smiling woman talking to a man. Both are dressed in Victorian Era style clothes. The frontispiece coloured illustration inside depicts four Egyptian black men on a Dhow boat chasing another boat next to it. 'Chasing Gun-Running Dhows' is the name of the illustration. The title page has the title plus Founded by J. Erskine Clarke, M.A and publisher details with a black lined illustration of children, a woman with children at her knee reading and flowers. There are further coloured plates in the collection. There are many puzzles, poetry, and stories for children. Pp. 316. The end papers have several advertisements related to children, their health, food and sweets included.fictionA vintage 1918 Chatterbox collection of puzzles, poetry and stories for children with black lined illustrations and coloured plates throughout. children's books, books, children's stories, adventure stories

Card menu with paper insert. Front has image of a chef and a waiter surrounded by birds. Has a blue string around the middle.Front: "MERRY XMAS" Inside: "We wish you a very merry Xmas/ m.v Halifax Star/ 25th December 1965./ At Sydney/ XMAS DINNER/ Grapefruit Maraschine/ Chilled Orange Juice/ Consomme Royale/ Cream of Tomato/ Seafood Cocktail Darn of Salmon Holondaise/ Chicken Vol au Vente/ Roast Norfolk Turkey Chipolata/ Cranberry Sauce/ POTATOES/ Straw Roast Parsley/ Green Peas Brussel Sprouts Mixed Vegetables/ COLD BUFFET/ Pale Ham Roast Beef Corned Beef/ SALADS/ Asparagus Vinnaigrette Fresh Beetroot & Onion/ SWEETS/ Christmas Pudding and Rum Sauce/ Strawberries & Ice Cream Bartlett Pears and Cream/ Assorted Nuts/ Fresh Fruits/ Assorted Cheeses/ Coffee Biscuits"

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols