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Melbourne Legacy
Journal - Newsletter, Legacy Newsletter 1978-1980 (For the members of the Melbourne Legacy Widows' Club), 1978, 1979, 1980
Early examples of Melbourne Legacy Club newsletters, covering the activities of Melbourne Legacy Widows' Club. Information includes a notice from the Chairman of the Widows' Committee, dates of meetings, possible day trips and theatre outings, and cruises. The ladies were welcome to attend card afternoons, indoor bowls competitions, outings and tours. The newsletters are published five times a year (January, May, July, September, November). These editions are from 1978, 1979 and 1980. The November 1977 edition mentions it was the 106th edition, the first edition was in 1960, previously there had been a quarterly magazine but the distribution was limited, they changed to a 4 page newsletter format to reach more of the widows. The September 1979 edition includes a photo of Lord Mountbatten when he met Legacy children, in reference to his death. The March 1980 edition mentions that the Widows Club rooms had been refurbished and the key handed over to the Widows Club President Mrs Ina Kearney - it was a momentous event since there was a membership of over 13,000 widows. A photo of this event is at 00410. The newsletter was priced at 2c a copy. The price of theatre tickets were $3. The full copy of January 1976 has been added to show the usual layout. Other editions haven't been scanned.The newsletters bring to life the activities provided for the widows and the work of Melbourne Legacy in the early years.Black typed printed newsletter x 29 editions from 1978 to 1980, No 107 to 124, each edition 4 foolscap pages.newsletter, activities -
Bendigo Military Museum
Uniform - JACKET, TROUSERS, SHIRT, NECKTIE, BELT, SERVICE DRESS - ARMY, Australian Defence Industries, 2016
1. Jacket, Khaki wool/polyester fabric. Service Dress style. Gold colour plastic buttons with shank and metal split ring. Buttons have raised emblem - Rising Sun Emblem. Collar, shoulder epaulettes, four front pockets with button down flap. Left sleeve - oval patch Rising Sun Badge, patch crossed Rifles, patch Australian Coat of Arms - Warrant Officer. Right sleeve - patch - Parachute Wings, patch, Australian Coat of Arms - Warrant Officer, 1st Class. Khaki colour polyester fabric lining with white cotton manufacturers label inside left side. 2. Trousers, khaki wool/polyester fabric. Service Dress Style, with fob pocket, two side pockets, one back pocket with button down flap. Plastic buttons, metal zipper fly, Khaki colour polyester fabric waist and pocket lining. White manufacturers label back pocket. 3. Shirt, Khaki colour cotton/polyester fabric, long sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. White cotton manufacturers label, back, below collar. 4. Necktie - khaki colour wool/polyester fabric with polyester fabric lining tie. Two manufacturers labels - black and white cotton with black ink print. 5. Belt - black webbing with brass buckle and keepers. Emblem on reverse sides of buckle. Manufacturers Information on label - black ink print. 1. ADA/MADE IN CHINA/ OCT 2016/ CC30BK/ ^/ NSN: 8405 66 162 6289/ SIZE 105S/ NAME:/ PM KEYS NO:/ OUTER 60% WOOL/ 40% POLYESTER/ LINING/ 100% POLYESTER/ DRY CLEAN ONLY/ DO NOT WASH/ IRON UNDER DAMP CLOTH/ WARM IRON". 2. As above with NSN: 8405 66 162 6077" 3. 'ADA/100M/ NSN 8405 66 088 7104/ SIZE??/ NAME/ SERVICE NO./65% POLYESTER/ 35% COTTON/ MADE IN AUSTRALIA" 4. "ADA" ADA/ MADE IN CHINA/ MAY 2016/ 60% WOOL/ 40% POLYESTER/ DRY CLEAN ONLY" 5. Etched emblem on buckle "^". uniform, army, service dress -
Bendigo Historical Society Inc.
Document - HANRO COLLECTION: PLANS AND REPORT FROM FIRE ENGINEERS AND SURVEYORS, 1954/1960
Plans and Report from Fire Engineers and Surveyors:- Green Card has a rectangular box with an ornate border in the centre of the front page. Inside the border is typed in black *Plans, Hanro (Aust) Knitting Mills Limited, Bendigo Victoria Australia. At the bottom:- Mahlstedt's (Vic) Pty Ltd. (est. 1884). Consulting Fire Engineers and Surveyors. Temple Court, 422 Collins Street., Melbourne C.1. Telephone 673069. Inside the folder is the Key to Detail Block Plans & Fire Surveys. Correspondence from Mahlstedt's Pty Ltd to Edward Lumley and Sons, Insurance Brokers regarding a new survey and the changes to the building with respect to fire hazard. Main report recommendations and general information on the building. Blue print of Shirt Factory, Inglewood Road No. 1061 by Welmar Ltd Bendigo. Small blue print of the main buildings showing different work areas. Blue print No.1119 of John Brown Industries Ltd Alley Street Bendigo showing work areas. Box 116AMahlstedt's (Vic) Pty Ltdhanro, clothing, plans and reports, edward lumley & sons pty ltd. hanro knitting mills. mahlstedt's (vic) pty ltd. welmar ltd bendigo. john brown industries ltd. -
Victorian Aboriginal Corporation for Languages
Book, John Henderson, Language in native title, 2002
Introduction /? John Henderson and David Nash Language and native title /? John Henderson Linguistic evidence and native title cases in Australia /? Peter Sutton Linguistic continuity in colonised country /? Jeanie Bell Country and the word: linguistic evidence in the Croker Sea claim /? Nicholas Evans Linguistics and the Yorta Yorta native title claim /? Heather Bowe The language of the Peak Hill Aboriginal people: a linguistic report in a native title claim /? Tamsin Donaldson Labels, language and native title groups: the Miriuwung-Gajerrong case /? Greg McIntyre and Kim Doohan Historical linguistic geography of south-east Western Australia /? David Nash Language ownership: a key issue for native title /? Michael Walsh Can lexicostatistics contribute an absolute time-scale to discussions of continuity of occupation in native title determinations? /? Barry Alpher Linguistic stratigraphy and native title: the case of ethnonyms /? Patrick McConvell Making your skin fit properly: displaced equivalence in 'skin' systems in the Barkly /? Gavan BreenMaps, tables, b&w diagramsyorta yorta, yoda yoda, yabala yabala, bangerang, shepparton, miriuwung, gajerrong, native title -
Victorian Aboriginal Corporation for Languages
Book, Rowena Withers, Celebrating Indigenous governance : success stories of the Indigenous governance awards, 2005
Good governance means good business What is governance? The Indigenous Governance Awards Key elements of good governance Finalists 2005: Koorie Heritage Trust, Victoria; Central Australian Aboriginal Congress, NT; Sunrise Health Service, NT; Goldfields Land and Sea Council, WA; Institute for Aboriginal Development, NT; Maari Ma Health Aboriginal Corporation NSW; North Coast Aboriginal Corporation for Community Health Qld; Tiwi Islands Local Government, NT What works: lessons from the 2005 Indigenous Governance awards Governing body: choosing the board; Size and frequency of meetings; Board change and continuity; Processes of decision-making; Making good decisions; Financial decision-making; Accountability tools Managing and implementing decisions: carrying out recommendations; Informing stakeholders Conflict resolution: conflicts among the board; Complaints from members; Staff conflicts Leadership development: developing youth; Staff development and training Cultural norms and values: Boards and elders; Community and culture Future planning.colour photographsbusiness enterprise, indigenous business -
Ballarat Tramway Museum
Newspaper, The Courier Ballarat, "Get on Board - new push to make Ballarat a one hour rail city", 21/09/2017 12:00:00 AM
Newspaper - The Courier, Ballarat, 21-9-2017 - 40 pages, titled "Get on Board - new push to make Ballarat a one hour rail city". The edition has a number of articles about the need to improve rail links between Melbourne and Ballarat to improve both the travel time and number of services able to be operated. Promoted by the Committee for Ballarat. Has a photo of a velocity leaving Ballarat station for Wendouree. Articles by Brendon Wrigley. Page 2 - lists services between Melbourne and Ballarat page 4 - "On time train key for footy" - with photo of Greg Horrocks on footbridge at station. page 4 - "Book line in high demand" - looking at the growth of services since 2006 and the elusive 59 min. service. page 5 - "Sub-hour journey a must", VLine performance with a photo of Chris Zeegers a regular commuter. page 6 - Editorial. Page 7 - A rail plan to meet growth - by Melanie Robertson, CEO of the Committee for Ballarat.ballarat, railways, timetables, vline, football -
Kew Historical Society Inc
Functional object, Jas Murray & Co, Wall Clock & Key, 1860s
The clock was purchased from Jas Murray & Co. of 107 Bourke Street East, Melbourne by Francis Barnard. James Murray & Co were well known clock and watchmakers operating from premises in London with branches in Calcutta and Melbourne. They were watchmakers and jewellers in Melbourne from 1860 to 1888. Francis Barnard established Barnard’s Pharmacy on the corner of Bulleen Road (later renamed High Street) and Cotham Road in 1857. In the early 1860s, after purchasing the clock, he placed it in his pharmacy where it could be seen by passers by. When he relocated across the road to 49 Bulleen Road (now 167 High St.) in 1880 he took the clock to the new premises. He maintained the accuracy of the clock so that local residents consulted it for the correct time, even after the Post Office building with its clock tower was opened in 1888. When Francis Barnard retired, his son took over the pharmacy. In 1925, the Barnard Pharmacy was sold to David Paton. The Paton’s were at first puzzled why people constantly peered in the door until they realised that the timepiece was the drawcard. When David Paton died in 1941, his widow sold the pharmacy but took the clock with her to her new florist shop at 145 High Street. When Mrs Paton retired in 1953, she took the clock to her home in Boronia. In 1973 her daughter donated the clock to the Kew Historical Society.Significant locally to Kew as an example of a timepiece that was used by the local community during the 19th century to tell the time.Barnard’s clock is a typical wall clock of the nineteenth century, variants of which could be seen in shops, offices, public buildings and stations. It has a mahogany case with a moulded wooden bezel encasing a hinged brass bezel housing the glass face which protects the dial and hands when working. The clock face has an off-white hand painted tin dial with black painted Roman numerals. The hands are black painted metal; the hour hand has a wide spade shaped point whilst the minute hand is much thinner. ‘Jas Murray & Co’ is painted above the centre, with ‘107 Bourke Street East’ and ‘Melbourne’ below, with the key hole in between. The clock movement is a fuse chain attached to a brass mainspring barrel which powers the pendulum for eight days. This is housed within a rectangular wooden casing with a convex curved base housing a hinged door giving access to the pendulum which is attached to the back of the clock by four wooden pegs.Jas Murray & Co / 107 Bourke St East / Melbournefrancis barnard, f g a barnard, high street - kew (vic), pharmacies - kew (vic), clocks, paton's pharmacy --- kew (vic.), bulleen road -- kew (vic.) -
Melbourne Tram Museum
Document - Report, Boyce Pizzey Strategic, Convergence Design, Booz-Allen & Hamilton, "Melbourne's Trams and Tramways - Statement of Heritage Significance", May. 2000
Digital image of two reports and a letter - 41 A4 pages Report - titled "Melbourne's Trams and Tramways - Statement of Heritage Significance", Working Paper 1.1, dated May 2000, by Convergence Design Pty Ltd and Boyce Pizzey Strategic - Page 3 is missing - looks at the development of Melbourne's trams, the element of significance, the tramway system as an entity, Social and cultural influencers, the technological development, including tram design. The two page statement notes the tramway system as an evolving entity and technology. And included document is "A Brief History of Melbourne's Trams and tramways", considers the history of the tramway system, cable cars, W class cars, buses, WW2, postwar developments, Robert Risson and a heritage assessment. There is reference to maps and attachments, but these have not be included other than the sources. A letter dated 6 June 2000 from COTMA (written by Craig Tooke, Executive Officer) to Mr. E Keys of Booz-Allen & Hamilton provides comments on the draft and corrections. .1 - hard copy of the Brief History.trams, tramways, history, significance, mmtb, melbourne, tramways, transport, buses, closure -
Melbourne Tram Museum
Ephemera - Calendar, Yarra Trams, "Yarra trams calendar 2007", 2006
.1 - Wall Calendar - 2007 - wire spiral bound along top edge, semi gloss paper, with cover and each month featuring various Yarra Trams employees and with tram and other photographs by employees. Names listed in key Associations. Has a hole in the top edge. Features trams 909 (100 years of electric trams), 5016, 210, 881, VR 53 and 40 at St Kilda, model trams at Kew Depot 75th, 2071, 3012, Power control room in 1938, City Circle car at Tram It, 2006. See Reg item 3017 for the photograph of VR53 donated by Ian Bryant. Two copies held. .2 - A4 photocopied sheet - "Yarra Tram Calendar Tram Photo Entry Form" for the calendar, giving entry conditions, closing date and address entries to be sent to. .3 - Pamphlet DL full colour advertising the calendar event and the prizes associated with the contest. See htd1171i2.pdf for full copy of calendar.trams, tramways, yarra trams, calendar, employees, drivers, 100 years of electric trams, st kilda railway station, victorian railways, kew depot, carlton control, tram 909, tram 5016, tram 210, tram 881, tram 53, tram 40, tram 2071, tram 3012 -
Bendigo Historical Society Inc.
Booklet - Kangaroo Flat Gold Mine Collection: Western Mining Corporation Bendigo Gold Project Environmental Effects Statement December 1987, Western Mining Corporation, Bendigo Office, Western Mining Corporation Limited Bendigo Gold Project Environment Effect Statement December 1987, December 1987
Spiral bound booklet, plastic cover, black plastic binding, On front cover: Western Mining Corporation Bendigo Gold Project, Environment Effects Statement, December 1987. On front page, colour aerial photograph of Bendigo mining areas mentioned in report. Key on front page related to photograph: 1. Woodvale Evaporation Ponds. 2. New Moon area. 3. North New Chum Williams United shaft. 4. Carshalton, Carshalton shaft. 5. South Nell Gwynne, North Bendigo shaft. Contents: historical perspective; Western Mining Corporation Ltd Bendigo activities; project outline, project approvals - controlling factors, elements of the mining project, surface based exploration, underground operations and surface support, mining areas and operations ore and mullock haulage, New Moon area, water management, environmental management. Planning and land use, socio-economic environment, physical environment and biological environment are examined and discussed. bendigo, goldmining, bendigo mining nl, bendigo goldfield, environmental effects statement, bendigo gold project, woodvale evaporation ponds, new moon, north new chum, carshalton, south nell gwynne, western mining corporation -
Bendigo Military Museum
Photograph - Army Survey Regiment - Defence Force Service Medal Presentations, Fortuna Villa, Bendigo, 1979
This is a set of nine photographs of Defence Force Service Medal presentations by the Chief of the General Staff (CGS) Lieutenant General Sir Donald Dunstan AC, KBE, CB; at the Army Survey Regiment, Fortuna, Bendigo on the 5th of June 1979. The photos were taken next to the flagpole in Fortuna Villa’s front garden. Upon retirement from the Army in 1982, Lieutenant General Sir Donald Dunstan AC, KBE, CB; was appointed to the position of Governor of South Australia from 1982 to 1991. On this occasion the CGS presented the Defence Force Service Medal to WO2 Alex Cairney, WO1 Bob Mason and WO2 Ken Slater for 15 years of efficient remunerated service in the Australian Army. It is likely the unidentified UK Exchange senior NCO was the recipient of the UK Army’s equivalent service medal. Other key staff appearing in these photos are LTCOL Bob Skitch was the CO of the Army Svy Rgt from 1976 to 1980 and WO1 Aub Harvey, who was RSM from 1976 to 1982. MAJ Don Swiney MBE was later promoted to LTCOL and was CO of the Army Svy Rgt from 1985 to 1987. He was subsequently promoted to Colonel and was Director of the Royal Australian Survey Corp from November 1988 to January 1991, and the honorary position as Colonel Commandant from January 1993 to January 1996. See item 6034.14P for photos of the CGS’s tour through the production areas of the Army Svy Rgt.This is a set of nine photographs of Defence Force Service Medal presentations by the Chief of the General Staff (CGS) at the Army Survey Regiment, Fortuna, Bendigo on the 5th of June 1979. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) - Photo, black and white, 1979. L to R: RSM WO1 Aub Harvey, CAPT Don Maskew, CGS LTGEN General Sir Donald Dunstan AC, KBE, CB; MAJ Don Swiney MBE, CO LTCOL Bob Skitch. .2) - Photo, black and white, 1979. Foreground L to R: CO LTCOL Bob Skitch, MAJ Don Swiney MBE, CGS LTGEN General Sir Donald Dunstan AC, KBE, CB; CAPT Don Maskew. Background L to R: WO2 Ken Slater, WO2 Alex Cairney, WO1 Bob Mason, unidentified UK Exchange senior NCO. .3) - Photo, black and white, 1979. L to R: WO2 Ken Slater, WO2 Alex Cairney, WO1 Bob Mason, unidentified UK Exchange senior NCO. .4) & .5) - Photo, black and white, 1979. L to R: WO2 Ken Slater, CGS LTGEN General Sir Donald Dunstan AC, KBE, CB; CAPT Don Maskew, MAJ Don Swiney MBE, CO LTCOL Bob Skitch. .6) - Photo, black and white, 1979. L to R: RSM WO1 Aub Harvey, unidentified UK Exchange senior NCO, , CGS LTGEN General Sir Donald Dunstan AC, KBE, CB; MAJ Don Swiney MBE, CO LTCOL Bob Skitch, unidentified aide de camp officer. .7) - Photo, black and white, 1979. L to R: RSM WO1 Aub Harvey, WO2 Alex Cairney, CAPT Don Maskew, LTGEN General Sir Donald Dunstan AC, KBE, CB; MAJ Don Swiney MBE, CO LTCOL Bob Skitch, unidentified aide de camp officer, unidentified photographer. .8) - Photo, black and white, 1979. L to R: RSM WO1 Aub Harvey, CAPT Don Maskew, WO1 Bob Mason, LTGEN General Sir Donald Dunstan AC, KBE, CB; MAJ Don Swiney MBE, CO LTCOL Bob Skitch, unidentified aide de camp officer, unidentified RAAF officer, MAJ Peter Eddy. .9) - Photo, black and white, 1979. L to R: WO1 Bob Mason, WO2 Ken Slater, RSM WO1 Aub Harvey, WO2 Alex Cairney, unidentified UK Exchange senior NCO..1P to .14P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
Federation University Historical Collection
Book - Catalogue, Disruption By Design: Intentional Catalyst for Change, 2012
This publication accompanied the exhibition of UB Bachelor of Visual Arts (Graphic Design) graduate students which ran from 23 November to 2 December 2012. Foreword by Professor John McDonald, Dean, School of Education and Arts, and by "Inkahoots" design studio. Student list: Christopher Frith, James Croft, Jesse Mason, Andrew Cox, Daniel Roache, Jenna Locket, Aaron Croft, Emily Phillips, Caitlin Heimeier, Maddy Collicoat, Brayden Waight, Elisa Micallef, Danii Zecevic, Zoe-Lee Scriven, Carla Ellis, Bryce Holywell, Lindsay Sewart, Megan Sutherland, Steven Fiume, Brianna Wines, Matt Sullivan, Alyssa Roberts, Hayley Burman, Jacqui Leutenmayr, Jessica Weston, Kimberley Wilson, Georgia Clarke, Josh Fry, Breanna Dignan, Lucy-Ann Moore, Tom Miatke, Daniel Howard, Matt Watts. 33 students. Inside back cover, thanks supporters, lecturers and sponsors. Lecturers: Ben Mangan, Chrissie Smith, Gavin Nash, Luke Keys, Glen Bellman, Travis Price, Sam Harmer, Damian Lentini, Jennifer Jones-O'Neill, Jimmy Pasakos, Pete Swan and Peter Pilven. Book layout and design by Aaron Croft, James Croft and Daniel Howard. Note: "Multimedia" has been removed from the degree title here.Promotional catalogue created by University of Ballarat, Bachelor of Visual Arts (Graphic Design) third year, graduating students, 2012. 40pp text pages (printed orange, silver and black) and 4pp saddle stitched cover (printed orange and silver), uncoated stock.university of ballarat, federation university, graphic design, multimedia, bachelor, degree, camp street campus, arts academy, christopher frith, james croft, jesse mason, andrew cox, daniel roache, jenna locket, aaron croft, emily phillips, caitlin heimeier, maddy collicoat, brayden waight, elisa micallef, danii zecevic, zoe-lee scriven, carla ellis, bryce holywell, lindsay sewart, megan sutherland, steven fiume, brianna wines, matt sullivan, alyssa roberts, hayley burman, jacqui leutenmayr, jessica weston, kimberley wilson, georgia clarke, josh fry, breanna dignan, lucy-ann moore, tom miatke, daniel howard, matt watts, ben mangan, chrissie smith, gavin nash, luke keys, glen bellman, travis price, sam harmer, damian lentini, jennifer jones-o'neill, jimmy pasakos, pete swan and peter pilven -
Federation University Historical Collection
Correspondence, John Gray, Letter of Condolence from ANA to John Mateer. 1883, 14/12/1883
The Australian Natives Association (ANA) Benefit Society was formed in 1871 at a meeting of young men in Grimwood's Hotel, Elizabeth Street, Melbourne. The Association was one of many friendly societies that also aimed to promote the moral, social and intellectual advancement of its members. The young founders restricted membership to native-born Australians, but there were no Koories among them. The Australian Natives Association Ballarat Branch (No4) was founded in 1874. The association’s modest building was based in Camp Street and the branch was one of the most active in the colony, playing a key role in Federation. The Ballarat branch of the ANA was wound up in 1957 and the double storey building has since been used as for office space most recently for employment companies such as Tracey Recruitment. Ballarat's ANA Hall has heritage status under the City of Ballarat’s Camp Street heritage overlay HO186, however it is not listed by either the Victorian Heritage Register or the National Trust.Handwritten letter glued onto a lined page. The letter is from the Australian Natives Association Ballarat Branch No. 4, and is written to John Mateer at the time of his wife's death. The letter is signed by John Gray (President) and Fred Wainwright (secretary). Fred Wainwright was the first secretary of ANA branch No. 4. hew as a clerk at Ballarat Town Hall, and presented an essay on Federation of Australian Colonies in 1879.Australian Natives Association Ballaarat Branch No 4 14th December 1883. Dear Sir The members of this branch of the A.N.A. desire us to convey to you expression of their deep sympanth with you in the irreparable loss you have sustained by the death of your dearly beloved wife. The Members are fully aware that during the first month of such an overpowering infliction the most sincere sympathy of the truest friends can do little by alleviate the bitter pangs of remembrance and sorrow, still they trust that you may be enabled to submit with christian calmness and fortitude to the Will of Him, who, when seeming to act most severely wit us, is in His Own Divine Wisdom, ordering things for the best. We are Dear Sir Yours fraternally John Gray President fred Wainwright Secretary To Mr John Mateer australian natives' association, ana, ballarat branch no. 4. ballaarat branch no. 4, gray, john gray, wainwright, fred wainwright, mateer, john mateer -
Federation University Historical Collection
Postcard - Postcards - black and white, Coleman & Co, Dublin before and after the Rising, 1916, c1916
The Easter Uprising took place in April 1916 in Dublin and is one of the pivotal events in modern Irish history. At the end of the Easter Uprising, 15 men identified as leaders were executed at Kilmainham Jail. To some, these men were traitors, to others they became heroes. (http://www.historylearningsite.co.uk/1916_easter_rising.htm, accessed 16 April 2014) Organised by seven members of the Military Council of the Irish Republican Brotherhood,[3] the Rising began on Easter Monday, 24 April 1916, and lasted for six days. Members of the Irish Volunteers — led by schoolmaster and Irish language activist Patrick Pearse, joined by the smaller Irish Citizen Army of James Connolly, along with 200 members of Cumann na mBan — seized key locations in Dublin and proclaimed the Irish Republic independent of the United Kingdom. There were some actions in other parts of Ireland: however, except for the attack on the Royal Irish Constabulary barracks at Ashbourne, County Meath, they were minor. With vastly superior numbers and the use of artillery, the British army quickly suppressed the Rising, and Pearse agreed to an unconditional surrender on Saturday 29 April. Most of the leaders were executed following courts-martial, but the Rising succeeded in bringing physical force republicanism back to the forefront of Irish politics. (http://en.wikipedia.org/wiki/Easter_Rising, accessed 16/04/2014) Sackville Street Dublin is now known a O'Connell Street.Seven black and white postcards showing photographic scenes before and after the Rising in Dublin.chatham family archive, chatham, holmes, ireland, dublin, uprising, sackville street, o'connell bridge, citizen army, liberty hall, henry street, nelson's pillar, post office, arnott's, abbey street, ruins, hotel metropole, the rising, easter uprising, easter rebellion, o'connell, chatham family archive, chatham, holmes, ireland, dublin, uprising, sackville street, o'connell bridge, citizen army, liberty hall, henry street, nelson's pillar, post office, arnott's, abbey street, ruins, hotel metropole, the rising, easter uprising, easter rebellion, o'connell -
City of Ballarat
Artwork, other - Public Artwork, Aaron Robinson et al, Flow by Holly Grace and Aaron Robinson, 2014
Water is key to a thriving community and it is through the representation of water Flow enlivens the space at Bakery Hill. Historically ‘water races’ ran through the valleys of the Greater Ballarat area unearthing the minerals that forged prosperity and wealth. This water still flows today unearthing new possibilities for the community. Possibilities focusing on sustainability, ecology, health and prosperity. Flowing over the site a series of kinetic turbines flutter in the wind creating a contemporary water race. The interactive elements offer visual stimulation enticing people to connect with the artwork and in turn the surrounding spaces. Bakery Hill has great historical significance. It’s connection to the Eureka Stockade and the series of events that were to unfold during the 1850’s was to become the turning point in Australian political history. The placement of each turbine is to mirror a point of history in the timeline of events that occurred during the Eureka Stockade. The Water Race is a symbol of possibilities, the ones created by history and those of modern society. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing and the interconnectedness of history with the community that surrounds it. The gateway to Bridge Mall is framed through the placement of each turbine allowing the sense of prosperity and wealth to flow through to the surrounding community. This gateway also references the significance of Bakery Hill reinvigorating the historical site by reconnecting it back to its town centre. The artwork is of aesthetic and historical significance to the people of BallaratTwelve steel turbines set on poles with dates attached and a large bronze 'timeline' plaqueFLOW/ Plotting the motion of Wind, Water, History and Time/ by Holly Grace and Aaron Robinson/ This site has great historical significance. It’s connection to the Eureka Stockade and the series of events that unfolded in the 1850’s was to become the turning point in Australian history. The placement of each turbine within this artwork mirrors a point of history in the events that led up to the Eureka Stockade. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing. They are a symbol of the community’s connection to their history. 1851 June James Esmond makes the first discovery of gold in Victoria at Clunes./ 1st July The Port Phillip District separates from New South Wales and becomes the Colony of Victoria. It is still subject to British rule./ August Gold is discovered at Buninyong and at Golden Point, Ballarat. Lt-Governor La Trobe introduces the Gold Licence system in an attempt to reduce the colony’s debt./ 20th September First gold licences issued in Ballarat. / 1852 August/ Eureka Lead discovered on the Ballarat goldfields. December Charles La Trobe resigns as Lt-Governor but he is not relieved until 1854/ July – December/ Unrest builds on the various goldfields with protest meetings held in Bendigo and Castlemaine. Bendigo’s Red Ribbon Movement is active on the goldfields and the Bendigo Petition is presented to Lt-Governor./ December/ Charles Hotham is appointed Lt-Governor/ 1854 March/ A bill to extend the Elective Franchise is passed by the Legislative Council and sent to London for the assent of the British Parliament. 22nd June/ Lt-Governor Sir Charles Hotham arrives in Victoria. The colony faces mounting debt and Hotham orders weekly licence hunts in an attempt to increase income./ August/ Hotham is acclaimed during his visit to the Ballarat goldfield./ 13th September? Hotham orders twice-weekly licence hunts to further increase revenue./ September – October/ Miners are experiencing problems – no shafts bottomed on the Eureka Lead for five weeks./ 7th October/ James Scobie is murdered outside the Eureka Hotel. Many diggers believe that publican James Bentley is responsible./ 9th October/ At Scobie’s inquest, Bentley is acquitted, despite strong evidence of his guilt./ 10th October/ Father Smythe’s servant is beaten up by authorities and falsely arrested for not holding a licence./ 15th October/ Mass meeting of miners on Bakery Hill. Catholic miners meet after Mass. // 17th October/ A meeting of up to 10,000 Diggers is held near the Eureka Hotel to protest against Bentley’s acquittal. The meeting results in the burning of the hotel. Three diggers, Westerby, Fletcher and McIntyre, are arrested. Hotham dispatches 400 soldiers to Ballarat. 22nd October/ Another large meeting is held to address grievances. The Catholics send their leaders, Hayes, Kennedy and Manning to meet Rede. The Government Camp is under siege 11th November/ A public meeting on Bakery Hill results in the formal establishment of the Ballarat Reform League and adoption of the League’s proposals./ 21st November/ The enquiry into the Bentley affair is published. It recommends the dismissal of the judge and the establishment of a Royal Commission. 23rd November/ Westerby, Fletcher and McIntyre are convicted of burning the hotel. The Ballarat Reform League demands their release. 27th November/ A deputation from The Ballarat Reform League, including Humffray, Black and Kennedy, meet with Hotham to demand the release of the three prisoners. Hotham does not believe the diggers have the right to “demand anything”, Rede requests reinforcements in Ballarat. 28th November/ Miners attack the troop reinforcements and wagons passing near the Eureka diggings. A drummer boy is seriously wounded. 29th November/ A “Monster Meeting” attended by more than 10,000 diggers is held on Bakery Hill. The Southern Cross flag is flown for the first time. Peter Lalor addresses the miners and a number of diggers burn their licences. 30th November/ A licence hunt occurs in the morning at the order of Commissioner Rede. Another meeting of radical miners is held on Bakery Hill. Peter Lalor becomes leader of the diggers and calls for volunteers. Many diggers wear an oath to defend their rights and liberties under the Southern Cross flag. A number of diggers move to the Eureka Lead and start to erect a stockade. 3rd December In the early hours of Sunday morning 296 soldiers and police led by Captain Thomas proceed from the Government Camp to the Eureka Lead and attack the Stockade. 22 diggers and 7 military are officially listed as being killed. Many others are wounded. Approximately 120 diggers are arrested and marched to the Government Camp. 4th December/ Funeral of some of the fallen diggers and soldiers. Martial Law is proclaimed in Ballarat. Henry Seekamp, editor of the Ballarat Times is charged with seditious libel. 6th December/ Major General Sir Robert Nickle, commander-in-chief of the military forces in the Australian colonies, arrives in Ballarat. 9th December/ General Nickle repeals martial law. 14th December/ The Gold Fields Commission sits for the first time. 18th December/ The first Ballarat sitting of the Gold Fields Commission is held at Bath’s Hotel. 1855 23rd January/ Henry Seekamp is found guilt of sedition and sentenced to three months in prison. 22nd February/ The Eureka trials starts in Melbourne. February to March/ 13 prisoners are tried and acquitted amid great public rejoicing. 27th March Report of the Royal Commission recommends miners’ rights and significant reforms. 10th November/ Peter Lalor and John Basson Humffray are nominated for seats in the legislative Council. 31st December Sir Charles Hotham dies before his resignation takes effect. flow, aaron robinson, holly grace, public art, eureka stockade, bakery hill -
Queenscliffe Maritime Museum
Domestic object - China crockery recovered from wreck of Light of the age
Subsequent to the wrecking of the Light of the Age marine concretions and corrosion products formed a cement capping over the cargo, stabilising and protecting it. The site of the Light of the Age was found by divers in late 1960s, and soon became a popular diving site. Huge amounts of intact crockery were removed from the wreck by boatloads of divers, including distinctive brown glazed teapots with legs (one diving author named it 'the Teapot Wreck' (Denmead, 1973: 78-82), 'Greek Key' patterned transferware, Cooper & Wood Portobello black glass three piece bottles, and sauce, preserve and condiment bottles often with contents (gooseberries, raspberries, olives) and seals intact. Larger items including a signal cannon and an anchor were removed from the site, while divers seeking souvenirs commonly used cold chisels to chip objects free of the concretion 'cap' which had stabilised and protected the remaining cargo for so long. In 1982 this situation was drastically changed when someone used explosives to further break concretions. However the charge was too powerful resulting in the site's complete destruction and the remaining items to become scattered and broken. Abraded and worn ceramic objects washed up on the beach are invariably collected by beachgoers, including fragments of crockery, figurines and animal figures used for 19th century household decoration and toys. The Light of the Age is archaeologically significant as the wreck of an international immigrant ship with an inward bound cargo. It is historically significant for its association with both the Black Ball and White Star Lines which carried thousands of immigrants to Australia. Built in 1855 and lost on 16 January 1868 now lies at Point Lonsdale Beach, half a mile west from Point Lonsdale, Port Phillip Heads.01- 1 shallow bowl, 02- 1 sweet bowl, 03- 1 willow pattern service dish, 04- 2 ladle cups [no handles], 05 06- 2 egg cups, 07- 2 bread and butter plates, 08- 1 condiment bowl lidWedgwood deep saucer; Pearl stone china, Ribbon, Wedgewood Willow Pattern service dish, Staffordshire Stone China, Fenton, No10shipwrecks, salvage, crockery, light of the age, clippers -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind annual report 1942, 1942
From it's beginning in 1867, the Royal Victorian Institute for the Blind grew in size and its number of employees and benefactors. These bound volumes of annual reports contain the information sent to subscribers of the Institute and outline the notable events and difficulties facing the blind and the RVIB. These include the acquisition of Ormond Hall, nursery and school buildings by the Commonwealth and the transferal of infants and pupils to 'The Georgian' at Olinda with the need for more staff due to more residential staff required, blind pupils formed a 'Junior Red Cross Circle' raising money and also contributed knitwear and splints for mine-sweepers, the loss of Headmaster Garnet Dent, Miss Lenna Bryson and Mrs E Dunkerton on or after the move to Olinda, the appointment of Headmaster Geoffrey E Green, Miss Betty De Huggard and Miss Dulcie Allen, with Mrs Rita Nightingall and Miss Vera Hopton visiting Olinda to provide lessons, Arthur McKay passed his Diploma of Music, 1400 pianos and harmoniums were tuned this year, as most sighted employees are engaged in war work an application was successful with the Director of Manpower to keep some sighted workers in key positions as they may be required to help those blinded by war action, around 25 partially sighted workers have been placed in other factories, several workers passed the Junior First Aid Certificate of St John's Ambulance, and the loss of Dr W.B. Vance who was Honorary Medical Officer for 39 years.1 volume bound with illustrations.royal victorian institute for the blind, annual reports -
Federation University Art Collection
Work on paper - Silkscreen, Graeme Drendel, The Objects Suspended by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen -
Federation University Art Collection
Work on paper - Silkscreen, Graeme Drendel, 'Enclosure with Keeper' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, [In anticipation of the skeptics] by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. A etching of a man with a man size goose.graeme drendel, printmaking, goose, fauna -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Rooms x 3 by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Piggy' by Graeme Drendel, 1974
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with pig. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Etching by Graeme Drendel, 2011
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying a calf. graeme drendel, printmaking, calf, cow -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, Etching by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying two milk buckets.graeme drendel, printmaking, bucket, milk, farmer -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'The Ballad of Dr Scabie' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'Memories' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. graeme drendel, printmaking -
Melbourne Legacy
Book, There Goes A Man. The Biography of Sir Stanley G Savige, 1959
The detailed biography of Lieutenant-General Sir Stanley Savage.Red cloth bound copy of W B Russell's biography of Legatee Savige with a paper dust jacket with photosnon-fictionThe detailed biography of Lieutenant-General Sir Stanley Savage. history, w b russell, biography -
Flagstaff Hill Maritime Museum and Village
Decorative object - Peacock, Minton Majolica life-size model, Paul Comolera, artist, Designed: c. 1873; Made: c. 1875
This majestic peacock embodies technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897), and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians, loved majolica, and the large peacock would have been the ultimate home accessory, as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became famous pottery and porcelain manufacturers. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms, and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best known work. Comolera, kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio, to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today some historians now believe that twelve were fired at the Minton factory, research is still on-going. These peacocks were so admired that the Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, assuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics, tiles and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares including the peacock at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria in calm foggy weather in June 1878 on the final leg on the ships journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods including this peacock back into the sea. The two men found the peacock in its case ‘bobbing along in the water’, and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue the head had broken from the body. This account was proven to be true in 1988, following the birds display in Brisbane. This peacock began its life in Australia, not in grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton &Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home for many years, and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Florence tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell the peacock, it was displayed in the window of the Argus newspaper office on Collins Street, and at the National Museum on 1st June 1935, the date of the 57th anniversary of the Loch Ard wreck. As a result, the peacock again attracted public attention with books, newspaper and magazine articles being published telling the story of its survival from a shipwreck. After Miller's death, the peacock remained in an antique dealer's shop in Melbourne for many years until it was bought at auction by Frank Ridley-Lee, in the 1940s, who displayed the bird at his home in Ivanhoe/Heidelberg. The peacock remained in the hands of the Ridley-Lee, until it was offered for sale in 1975 as part of Mrs Ridley-Lee's estate. In 1975, an advertisement in Melbourne newspaper, the Age announced the sale by auction of the art collection of the Ridley-Lee estate that included this peacock. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to raise the necessary funds through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half of the of the cost. On 9 September 1975, the peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since, it has only left Warrnambool twice. Firstly, in 1980 at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire -
Eltham District Historical Society Inc
Photograph, Sugarloaf Reservoir, Christmas Hills, 16 January 2015, 16 January 2015
Sugarloaf Reservoir is situated on former farmland. This large water storage was completed in 1982 and serves Melbourne's northern suburbs. Within the visitor areas are two picnic grounds and other recreational facilities. Below its massive rock embankment is located the Winnecke Treatment Plan designed to purify its water before being piped into Melbourne. The dam partly inundated the old firing ranges of the former Christmas Hills Rifle Club. Source: Christmas Hills Now and then: Yarra Glen & District Historical Society, 2004. Born DigitalMelbourne Water Sugarload reservoir Melboure Water is owned by the Victorian Government. We manage Melbourne's water supply catchments, remove and treat most of Melbourne's sewrage, and manage waterways and major drainage systems. Most of Melbourne's water comes from uninhabited, forested catchments. Melbourne is one of the few cities in the world that has protecyed water supply catchments. Melbourne Water manages these catchments to protect our drinking water. Our water is safe and pleasant to drink, and undergoes minimal treatment - it is better to start witht he highest quality source. A key part of Melbourne Water's responsibility is to encourage the sustainable use of this precious resource. For more inforamtio on our water supply and on how you can conserve water, call 131 722 or visit www.melbournewater.com.auchristmas hills, sugarloaf reservoir, sign, melbourne water -
Melbourne Legacy
Film, Shrine, 1981
Sound and colour. A film about the Shrine of Remembrance which was made in April 1981 (from the label). Documents the history of the Shrine by interspersing images of war with returned servicemen's marches. The film shows archival images of Australia in 1914 and accounts from WWI, which gave rise to the campaign to build the Shrine in the 1920s. Gen.Sir John Monash, after consulting with Legacy, lent his support and it was opened in 1934 by the Duke of Gloucester, becoming the focus of commemoration in Victoria. The forecourt with the Eternal Flame was added in 1954 to commemorate the fallen of WWII and was dedicated by Queen Elizabeth II. Junior Legatees are shown paying their respects at one of their annual commemorations. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Legacy were instrumental in campaigning for the building of the Shrine. Blue plastic circular tin with fitted reel inside. Lid has a sticker with information about the film. Film is 700 feet at 16mm. Piece of double-sided paper loose inside the tin with information on run time and last checked for inspection.Lid sticker is as follows: KEY NO. 810422 / PRINT NO. 1 LENGTH 17 mins / TITLE "SHRINE" VICTORIAN FILM CORPORATION / 409 KING STREET, MELBOURNE 3000 / BOX 4361 MAIL EXCHANGE 3001 / 03-329 7033 Sticker underneath is as follows to the naked eye: VICTORIAN FILM LABORATORIES / VICTORIAN FILM CORPORATION / SHRINE / G STREET HAWTHORN 8180461 Documentation inside tin is as follows: Side 1: Details, Run 1 / BRK 1, 4:12 / BRK 2, 8:05 / Credits 41, 4:33 / TOTAL, 16:50 Side 2: TDX Date / Run 1: TO BE DUBBED, 25.4.81 / No. of Breaks: 2 Remarks: Fair, Light Int scratches, Light broken scratches / Total Duration / Run 1: 16.50shrine of remembrance, history