Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The photos in this album are historically and socially significant as a record of recreational activities in the first half of the twentieth century. A number of photographs in the album provide views of sections of the Yarra, as well as areas in regional Victoria, that may otherwise be unavailable.One of 12 sepia [faded] photographs of members of the Victorian Canoe Club. This photo shows the mouth of the artificially made Pound Bend Tunnel, which was created to divert the course of the Yarra to enable gold prospecting in the river bed. "Pound Bend Tunnel"victorian canoe club, travel -- 1930s, canoeing, warrandyte, pound bend tunnel

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene in the Melbourne Botanical Gardens’ : Views of Victoria (General Series) No.38 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The subject of this illustration is taken from near the Bridge, which crosses the Garden Lake. The grassy slope in the foreground of the picture is a portion of the North-West or Lower Lawn. Portions of the “Rockery” and the small lake can be seen in the mid-distance, near which is the new Rustic Summer-house. These Gardens are under the management of Mr. Guilfoyle, with about 20 assistant botanists, florists, and general gardeners.’nicholas caire (1837-1918), melbourne botanical gardens, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene near the Buffalo Mountains’ : Views of Victoria (General Series) No.41 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This scene is taken from the banks of the Buckland River, which is about five miles distant from the Buffalo Mountains, as seen in the distance. These mountains are frequently covered with snow, in consequence of their great altitude. The Buckland River is a small tributary of the Ovens River, which flows through the Beechworth district, and eventually finds its way to the River Murray. The Bridge which is seen on the right of the picture forms the roadway which leads from the Buckland Camp to the Township of Bright.’nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the Township of Mt. Blackwood’ : Views of Victoria (General Series) No.42 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The locality which this illustration represents was formerly known as the Blackwood Forest, and has been the scene of considerable mining activity. The shallow alluvial diggings of the early days have given place to the deep sinking in search of reefs. This scene is characteristic of the wild appearance which many of the inland townships of Victoria represent.’nicholas caire (1837-1918), blackwood (vic), mount blackwood, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View on the upper Buckland River’ : Views of Victoria (General Series) No.46 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Buckland River is situated near the western extremity of the Australian Alps, and forms one of the sources of the Ovens River. Its watercourse is very shallow, except in flood time. Our illustration is taken on the upper portion of the River, near Reeve’s dam.’nicholas caire (1837-1918), buckland river (vic), landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘The Bend of the Yarra at Studley Park’ : Views of Victoria (General Series) No.49 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: The subject of the present illustration is taken from near the Kew Road, on the Park-hill side of the Yarra. The curve of the River at this and other parts of the Park represents a gigantic letter S. It is a remarkable fact that the hilly side of the River is covered with a mass of foliage of various descriptions, from the stately gum tree to the stunted wattle, whilst the opposite side of flat country has scarcely a shrub to be seen any where.’nicholas caire (1837-1918), studley park, yarra river, kew, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the township of Golden Square’ : Views of Victoria (General Series) No.57 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This Township is situated in the Bendigo district, on the road to Castlemaine, and although it is of little importance as a business town, is nevertheless of large importance in consequence of the great number of Quartz Reefs it contains. Almost every house is undermined, and large fortunes have been made by the proprietors. The Church in the distance is that of the Wesleyan body. It was in this township that gold was first discovered in the district of Bendigo.’nicholas caire (1837-1918), golden square (vic), bendigo (vic), gold mining, landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Township of Lorne, and Loutitt Bay’ : Views of Victoria (General Series) No.60 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Loutitt Bay is fast becoming one of the most fashionable Watering-places in Victoria, partly from its easy access by Rail, combined with the magnificent scenery to be found in the Cape Otway Ranges, and the very moderate charges of the houses of accommodation. The large house near the foreground is that of Mr. Mountjoy, which is a Restaurant. Duncan’s Hotel can be seen in the distance, on the brow of the hill.’nicholas caire (1837-1918), lorne (vic), duncan's hotel, loutitt bay, landscape photography - victoria

This image has been taken at the side of St Matthew's Church, Cheltenham. Sepia toned image of cricket team. There are twelve (12) people in the photograph, including two men lying down at the front, with cricket bats in their hands. While it appears to be a men's team, there are three young boys in the back row.sport, cricket, cricket club, cheltenham, cheltenham cricket club, st matthew's church

12-page booklet giving a brief history of the Forest Street Methodist Church, 1853 to 1953. A list of Ministers includes a B&W photo of the Rev. RJ Philip, the Minister in 1953. Printed by Bolton Bros. Bendigomethodist church, forest street methodist church, bendigo

BHS CollectionBendigo Advertiser ''The way we were'' from Wednesday, January 12, 2004. Vintage: Barbara Livingstone, from the Harcourt Valley Vineyard, pours wine at the old Castlemaine Gaol, on November 3, 1997. The clip is in a folder.newspaper, bendigo advertiser, the way we were

paint sample or paint chi from a tramcar showing various colours that had been applied over a number of years to the tramcar - shows about 12 different colours - green, undercoats, gold, city circle red.trams, tramways, paint, colour schemes, tramcars, city circle, the met

2 DVDs with colour photographs of student tree climbing, produced by staff members, Jim Rule and Denise Johnstone. Disc 1 has 9 photographs and Disc 2 has 12. Disk 1 is now missing.students, tree climbing, jim rule, arboriculture, denise johnstone

Map: Compilation of maps: Town lots Bridgewater dated April 29 1871. Village of Colbinnabbin, dated 5 December 1866, Township of Axedale 1858 (Larritt). Suburban lands Axedale dated April 12 1871map, bendigo, parish plan, bridgewater, colbinnabbin, axedale, suburban lands

Hand written carbon copy of Mining Equipment, property of Mr. Ron Barker which was stored at 3 different sites. Equipment is listed with prices. Dated 12/11/68 and 15/11/68. Signed by A Richardson.mine, gold, central nell gwynne mine, central nell gwynne mine, ron barker, a. richardson, mining equipment

Copy of handwritten extracts from the Mine Manager, Matthew Mann, of the York and Durham Mine. 29/12/1893 cleaned and tested boiler. Report from 9/4/1894 Alterations to Winding Gear and repairs to machinery.document, gold, mining reports, york and durham mine manager's report, mathew mann

All photos relate to the collection of "Francis William (Dinky) DEAN" BEM VX93960 2nd AIF, 3742 1 RAR 1943 - 1975. Refer Cat No 124.2 for his service history. (.1) The soldier on the left standing is Frank Dean. The soldier sitting is wearing a “DCM” being Bruno Flematti No 54679 1 RAR, awarded the DCM over 4 actions in Vietnam 1968/69. On the rear stamped in purple “Nov.69.H” (.2) The soldier centre is Bruno Flematti, soldier on the right is Frank Dean. (.3) Soldier centres is Frank Dean. On the rear in black pen “The terrific trio”. (.4) The man on the left is possibly Max (Dad) Kelly, centre is Frank Dean, the man on the right also appears to be wearing a BEM. (.5) Frank Dean is 2nd from the right, the man on the left also appears to be wearing a BEM. (.7) On the rear in black pen “1999” All photos are in colour. (.1) Group of 5 people, 3 standing, 2 sitting, 3 are in uniform, 1 man and 1 female and a dog. (.2) Group of 3 soldiers, 2 Sgt’s and 1 Staff Sgt. (.3) Group of 3 soldiers in Mess Dress. (.4) Three men in civilian clothes wearing medals, 2 wearing hats. (.5) Four men in civilian clothes wearing medals. (.6) Barracks scene across gardens with large banner “Welcome home Diggers”. (.7) Parade showing a large banner with details of 1 RAR’s service and Battle Honours. photography, military, reunions, francis william dean

This letter was sent by a customer D. Menzies at Skipton to the Mortlake Mill, detailing an unusual payment method for the processing of his wheat into flour. David Menzies was a Scots farmer who lived in Skipton c. 1860's on a bend in the Mount Emu Creek. He helped establish the local school and a lane in the township bears his name. The letter illustrates the nature of commerce and the difficulties of communication and life generally in the country at the time. The bluestone Mortlake Mill built in 1856, has been a prominent landmark in Mortlake for over 150 years. It played a significant role in the commercial life of the town and was initially a wind-mill to process district grain for sale. The goldrush at Ararat 100 km. away led to a temporarily increased population and demand for foodstuffs. In 1857 the Mill was sold to Aikman, Hamilton and Geddes who converted it to steampower and later built the prominent chimney, which is on the Heritage Register as part of the National Estate. D. Menzies at Skipton lived at least 85 km away - his wheat which urgently needed milling, faced a slow and arduous journey by bullock dray. After the demise of the Ararat goldfields and the decline in population (as well as the district soils proving unsuitable for sustained wheat cultivation), the operation of the Mill declined too and the proprietors increased their involvement in other activities - supply of building materials, timber felling and sawmills. Despite the apparent difficulties of conducting business in the 1850's, it is notable that commerce thrived at that time in country districts, as an examination of Mill accounts and records show.Handwritten letter dated 1864 (water-stained)Skipton March 7 1864 [to] Messrs. Hamilton & Co. Mortlake. Dear Gentlemen, I was in hope of hearing from you before now that you had commenced working the Mill, & that I could have sent you the enclosed money [for a] load of wheat for Gristing. Please receive the enclosed 2 halves of 2 [two] 5 [pound sign] notes forwarded to your account. the other halves will be sent on receipt of your stating you having received those notes sent. As I am out of flour be so good as say how soon I may send a load of wheat. In haste I am Gentlemen Yours truly D. Menziesmortlake mill grain wheat hamilton geddes aikman laang dixie menzies skipton

History of the Lubeck School and "Back to Lubeck" Weekend Sept 11-12 2004. Lubeck School Centenary book compiled August 20th 1983. 687.1 Back To Lubeck Weekend Sept. 11 & 12 2004. 681.2 A Poat Script to Lubeck School Centenary Dec. 17.1989White booklet with map on cover in Green Ink, Title in Brown Printin Brown Print: Lubeck School Cnetenary 1983stawell education

1 x Faded miniature postcard 6.5 x 8.5|1 x Black and white 9.5 x 12 copied from album in private hands|1 x Sepia toned 10 x 15|1 x Black and white 12 x 17.5Black and white small format postcard of Bullock Island. It shows the approaches to the concrete North Arm Bridge over North Arm, the footbridge to Bullock Island, the entrance to the Gippsland Lakes from Bass Strait and part of the township on the hummocks. Lakes Entrance VictoriaLakes Entrancewaterways, topography, islands, bridges

“The items were left behind by the Ss units stationed in Nijmegen, Arnhem, Holland’ The pottery was made at the Rosenthal pottery which was taken over by Germany. Soup Tureen- pottery round bowl with white glaze, with pottery handles in the shape of a lion’s head. Gray Boat - pottery oval shaped pitcher with attached tray, with white glaze. Long lip on both ends of gravy boat. .1) Base of Tureen, makers stamp, black ink, German Eagle with Swastika “F1. UV./ Rosenthal” .2) Base of gravy boat, makers stamp, green ink, German Eagle with Swastika “F1. U.V. 1940 BOHEMIA pottery, german, ww2

Rectangular metal commemorative wall plaque. There is a hole in each corner."THESE COMMUNION FURNISHING ARE DEDICATED TO THE MEMORY OF EDNA LENNA BUTTON THE FIRST SISTER OF THE YOUNG PEOPLE'S MISSION WHO AS A MEMBER OF THE W.A.A.F. LOST HER LIFE IN AN AIR RAID IN KENT ENGLAND 30th AUGUST 1940 THE GIFT OF HER PARENTS."young people's mission

now the National Theatre, year unknown, the photograph indicates that Errol Flynn in Uncertain Glory was playing.black and white photograph (2 copies) un mountedHoyts Victory Picture Theatre. now the National Theatre, year unknown, but would appear to be mid-1940's. Errol Flynn in Uncertain Glory (1944) with Paul Lukas. Basil Rathbone in House of Fear (1945) with Nigel Bruce.

Black and white photograph (2 copies)Written on rear of backing sheet: "L-R. Frank Clota (Heathmont), Bert Richards, Roy Wilkins. Outside Richards Garage, later Coffey's, Whitehorse Road. c 1940's." Car in foreground is a 1937 Chevrolet 'Master'.

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, st john's anglican church, diamond creek, parish hall

Yields information about the track maintenance activities of the track gang in Ballarat, the work they did, notes, names and other information.Collins Australian Diary, 1962, No. 324 printed by Collins Bros, pattered dark red cover with green cloth binding on cover, card covers, sewn sections with ruled sheets providing a diary for 1962, one week per double page. Has "useful information" sheets at from the diary. Used by the SEC Ballarat track gang to record their daily work, leave, welding, track cleaning, truck driver etc In the Memoranda section (last two pages), list of names and addresses of track gang and notes on materials used, costs, scrubber use and hours, and length of track. Has notes when some finished on the track gang - elsewhere within the SEC? Grove Platt Lancaster Wiseman Lakey Edwards Dowie Marks Fish Eames Smith Loose contents 1. - Inside front cover - 12 green and pink "Workshop Requisition" requesting work by the track gang outside the direct tramway area, eg Ballarat B station and one handwritten note. 2.- Telephone numbers - a receipt made out to E. Fish for jury duties fees. 3 - 19/3/1962 - printed card from the Municipal Officers Assoc (SECOA) for a general meeting at Electra Hall on 7/12. 4 - April Cash account - note re requirement for tip truck to pick up materials. 5 - Inside last sheets - medical certificate for H. Dowie, dated 10/7/1962. tram, trams, sec, ballarat, depot, trackwork, rails, scrubber tram

Prior to 1939 access to the Island was by punt from San Remo or car ferry from Stony Point. A bridge was opened in 1940 but increased traffic and low load capacity was a problem. The decision to build a new bridge was made in the 1960s.HistoricalColoured, bound booklet with a photo of the old and new Phillip Island bridges on the cover and the CRB logo and name on rear. It includes the order of proceedings for the opening and bridge statistics, plans and contractor information. Also photos of construction and a history of travel to the Island before a bridge was built and the first bridge. There is also a 2 page typed document written by the bridge engineer who gives a brief history of access to the Island and problems at the opening with access and a rebel who tried to open it unofficially.Official Opening of the Phillip Island Bridge at San Remo by The Hon. M.V. Porter, MLA. Minister of Public Works. November 21 1969bridges, 2nd phillip island bridge construction, tom russell, phillip island bridge opening 1969