Minutes of the meeting held on 20 June 1974 to discuss the in-depth study authorised by the Board of Management. Items considered included the development of plans, forward planning, and funding of the project to look at options for Blamey House, Stanhope and Harelands. See also Cat Nos. 01689 and 01690. Further investigations were called for. Gives an insight into Legacy thinking about the way in which the residences should be used.White foolscap photocopy, with black type. Two holes punched for filing. Double sided.Page 2: 'L/tee H.C.G. Rodgers' hand written in blue biro.residences, review, blamey house, harelands, stanhope

1,2, & 3. Water bottles inside each canvas pouch, kidney shaped plastic green with attached screw top lid. Pouch, green coloured and shaped to fit. Waterproof outer, soft inner lining, two folding flaps with press studs, back has webbing. section sewn on with three types of attachment for a belt.1. “Winchester” (In texture marking pen). 2. “Mackander” (In texture marking pen)passchendaele barracks trust, water bottles

Black and white copy of original photograph of two boys each wearing long pants and a thick Jacket, hats in hand and boy on right has his hand resting on the other boys' shoulder."George Knight 7/9/1905 and William (Bill) 2/5/1903."george knight, william (bill) knight

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

Stores code 22C/1731,size 3 (2 x Helmets available)

Black and white photograph of lady sitting in chair holding a child. Written on backing sheet, "Mrs. Pett and Charlotte (b. 13/2/1865)."

Augustus Bostock was the 9th child of Robert & Rachael Bostock of Vaucluse Epping Forest, Van Diemen’s Land. He was only 4 years old when his mother died. He was inspired by his father to seek his fortune in the Western District of Victoria. He arrived around 1850. He married Margaret Aitkin in July 1865. Augustus owned several properties in the district and leased others. He sat on the court of Warrnambool, Mortlake or Hexham as required. He resided at Marramook in Hawkesdale and later moved to Vaucluse in Hopetoun Road Warrnambool, where he died in 1920 at the age of 87. He was involved in many aspects of life in the Western District, racing, cricket, and social activities to name a few. This diary shows the daily entries over a long period of time with activities ranging from fencing, visiting neighbours and weather details. It mentions many local people and many properties he visited. Augustus Bostock along with a number of his brothers was one of the earliest pioneers in the Western District of Victoria. This diary sheds considerable light onto the life of Augustus and people of his era. There is a wealth of information on a range of topics relating to early life in Warrnambool and district.Maroon, blue, white and yellow patterned cardboard cover with black binding on spine. Pages written in black pen apart from entries for August and September which are written in blue ink. Coomete 16th June 1873. C/N 2/- inside front cover.bostock, augustus bostock, vaucluse warrnambool, warrnambool

Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program

BHS CollectionHanro Advertising Brochure for Undergarments: Four page brochure on a brown background with pink framed pictures of a model in a black and white photo wearing undergarments. The first page in a large frame is a model with long blond hair wearing a spencer trimmed with lace and is ribbed at the waist and is wearing briefs. At the bottom right side is printed 'Hanro of Switzerland in white print and on the left is the numbers: A)204/61563-41061 and the wool symbol. Page two has five frames with different spencers and briefs. At the bottom of each frame has the number of the garments and has the cotton symbol. The Third page has five frames each with different garments and their item numbers at the bottom along with a wool or cotton symbol. At the top printed in white is 'Hanro of Switzerland'. Back page has a large frame with a model wearing a Camisette and bikini, at the bottom printed in white is 'M02631/11166-40050 and the cotton symbol. To the right bottom printed in white is 'Hanro of Switzerland. At the right side top of the frame is printed in white 'Reine Schurwolle, Pure Laine vierge, Pura lana vergine, with the wool symbol to the side. Reine Baumwolle gezwirnt, Pur coton retors, Filo di scozia. With the cotton symbol. The bottom of the page has a border of 6cm in the pink colour. In the center of the brochure on A4 white paper in black print is a price list, page number and Item description. The page is header 'Hanro Preisliste/Prix courant Herbst/Automne 1977. Box 116AHanro AG, CH-4410 Liestal, Switzerland . Printed in Switzerland 77/2hanro, clothing, intimate apparel

Book - 100 pages, plus printed colour covers on gloss paper, centre stapled, titled "Bendigo's Vintage Talking Trams", authored by Keith Kings1996, published by the Bendigo Trust December 1981. Has many historic photos of Bendigo, trams in the streets of Bendigo and its then fleet of trams. Gives a history of the trams in Bendigo, including battery tram, steam, ESCo, SEC, the Trust, Central Deborah Gold Mine and its trammies. Pages 49 to 52 - colour pages including a map of the route and staff and volunteers 30/10/1996.Page 1 note in ink "To Charles 20/2/97 Keith Kings"trams, tramways, bendigo, battery trams, bendigo trust

Black and white photograph of a flood in Elizabeth St, with the GPO, Royal Arcade and London Stores in the background. Taken at the intersection with Flinders Lane. Shows a car with water washing over it and a safety zone in the background. Photograph by The Age, has a copy right stamp on the rear. Follows a massive downpour around the Queen Victoria Market. The cataloguer was working nearby in Collins St at the time, but no camera! See TMSV Running Journal April 1972 for details of the event.On the rear in pencil "Thursday 17/2/72 4 to 5pm, 3" Rain"trams, tramways, flooding, elizabeth st, gpo

Black and white photograph of a street scene in Flinders St outbound cable tram set - Flinders St station in the background? - Telephoto photograph with a motor car (Model T Ford) in the foreground. In the background is a horse drawn cab (Hansom?) The cable trailer car is one of the fully imported Stevenson ones. Herald Photo c1913?On rear is "Herald" and "Copied 14/2/83" in bottom corners and image dimensions.trams, tramways, flinders st, motor vehicles, cable trams, horse drawn vehicle

Black and white photograph of W4 671 at the East Preston terminus showing Leura Grove during a special tram tour with another service tram behind. Photo by Chris Phillips. Inspector Bruce Davey walking away from the tram. ARE Tour ex South Melbourne depot. Advertisements for Craven Filter cigarettes, Nuplastic and Lloyds Delicatessen in the background. Printed on Kodak Paper.On rear in red ink "W4 671 Bridge Thornbury 9/2/69"trams, tramways, mmtb, special trams, east preston, tram 662

Four photocopied A4 pages, stapled instruction titled ""Automatic Vehicle Monitoring System Vehicle Control Head Operating Procedure" Outlines the preparation of the system for operation, how to use it, and the functions of the various buttons. Typed in capital letters. See also other associated instruction documents - search subjects for AVM. See also Reg item 2011-56 for another version of this document."Run card in No. 2 end" and "Tram .... to Fleet Operations" in ink on front page.trams, tramways, avm, automatic vehicle monitoring, instructions, communications, control centre, training

Belts x 3 - Nylon, plastic buckles, blackened brass keepers.1. & 2. Waist, “30 inches or over Mississippi Industry” 3. “US”passchendaele barracks trust, belt webbing

ticketDemonstrates the use of a specially printed ticket for students using the Provincial Tramway service.Scholar's Monthly Ticket for Provincial Tramways. The ticket details that it is supplied by the ELICTRICITY SUPPLY DEPARTMENT of the State Electricity Commission of Victoria for use on Provincial Tramways. It gives the conditions and terms of use, stating that it is for passengers under the age of 18. It provides a grid on each long edge for trips in and trips out, with the numbers 1 to 31 where the box can be nipped for the day's travel. The ticket is not transferable. On the reverse of the ticket, there is space for the Name of the ticket holder, the date "Available from and To" and the Route covered. The ticket is printed on white card with black ink.Row 2, ticket 1 has a stamped date of 31 JUL 1946.tickets, tramways, esco

Educational Journal published and distributed free fortnightly to Australian and Allied troops during WW2 1941-1946Small red and blue journal with sketch of a soldier in a slouch hat holding two fingers up.Vol 7 No 2 27 Sept, 1943 Special Second Birthday Issuesalt, army journal, ww2

Garden edging manufactured by White Bros which is now known as Vitclay.Sandy clay coloured garden edging tile, square base with decorative top.'White Bros/Registered/2/3/88/ pressed onto front of tile.ceramics, terracotta

Police uniform peaked cap circa 1939-45. officer Pattern worn during WW2 period.Green police Hat. Top is green felt with bright green lines. Second level black felt around circumference of hat about 5 cm wide. Front peak Dark Green, plastic. Silver Rope Braid - two strands going from one ear around front to other ear. Nazi emblem on front with Swaztika and Eagle. On top small silver button with one dot in the middle. Inside lining is orange material with brown band around middle of rim.Size "55 1/2" Brand "Braunschweig" and some other indecipherable writing. uniform, german police, peaked cap, ww2

Black and White photographWritten on back of photograph, " 2/81. J. Lindsays, 18 Warrandyte Rd."

Black and white photographic proof of a baby boy seated on a rug covered bench wearing a romper suit short sleeved shirt and white socks Lakes Entrance Victoriaon back Mrs Jones 1 10 x 8 2 PC sepiafashion, children, studios

Black and white photographImage is a studio photograph of the wedding party including 2 bridesmaids and a flower girl.

Trench Art made from brass ordnance pieces. The base & stand are made from a 75 mm shell casing & a .50 cal projectile. The top is made from a .50 cal, .303 projectile to form a Lightning Fighter aircarft.“75 mm. M18 LOT 2 - 1306 - 28 BB, CO 1941”military history, trench art, souvenirs, ashtrays

Significant to mining history of Bendigo.Black and white photographs: metal headframe on Napoleon mine site on left/centre of image, corrugated iron mining sheds in background and right of image. Top section of headframe still under construction. Power line in background. Written in pencil on back of photograph : Napoleon main shaft 5/2/35. napoleon gold mine, winder, bedplate

Significant to mining history of Bendigo.Black and white photograph: base of head frame with mine at top of shaft. Rail trcks in foreground.Written in pencil on back of photograph : 'Napoleon main shaft 2/9/35''napoleon gold mine, anticline

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2. NNN+ 2 4240/ [PRINTED] (No. 18) / 371samaria farm, wooragee, wooragee landcare group, wooragee landcare's collection, samaria, small farm, land use, social, rose oil, damask roses, pests

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Christine Stewart, Julius Holt, Graeme Missen, Peter Finedon, and Sue Brunskill. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern.Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 2 4240 / [PRINTED] (No. 23) / 376wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

Photograph shows W class 307 standing on slightly curved track displaying destination "Victoria Bridge" and no route number box attached. The uniformed motorman and conductor stand on the roadway next to the front driver's cab where the trolley pole has been tied down. The conductor wears his coin bag and the driver is holding the tram's key and air brake handle. An elderly male passenger with coat stands at the drop-centre doorway and other passengers are inside. The car body of W 307 was built by Holden Motor Body Builders in South Australia in 1924 as part of a large contract to build W class trams. Victoria Bridge was the termini of both the Collins Street and Victoria Parade cable tram that closed in 1929 and the Mont Albert electric tram from Union Road, via Whitehorse Road and Kew Junction. Perhaps this photograph is of the Mont Albert terminus although the curved track suggests otherwise.Yields information about early W class tramcars . Black and white photograph with penciled dates on rearPencil writing reads "Between 2/9/24 & 19/3/28" trolley pole, drop-centre, w class, tram 307, victoria bridge, route number box, key, air brake handle, car body, holden motor body builders, mont albert, termini

Wooragee Landcare was formed in 1989 to promote sustainable conservation and land-use practices in the North-East region of Victoria. The organisation's work has included public awareness and education campaigns to control invasive, introduced species and protect native wildlife, such as campaigns to bait or trap foxes and to identify and monitor quoll populations in the region. The organisation has drawn on the work of a variety of Government and academic experts to inform best practice approaches are utilised. In 2004 Andrew Murray, a leading quoll expert from Parks Victoria, conducted training for Wooragee Landcare members and the local community in how to identify potential quoll habitat and populations (through identifying scat and other methods). Spotted-tail or Tiger quolls were known to have lived in the Mt Pilot and Stanley Plateau region previously but habitat encroachment, competitor species such as foxes and natural disasters had reduced sightings in recent years. The Spotted-Tail quoll (formerly known as the Tiger Quoll) is the largest of four species of native marsupial carnivore on mainland Australia, and the second-largest carnivore (after the dingo). The species' scientific name, Dasyurus maculatus, references its' 'hairy tail'. Adults are approximately 125cm long, including their long tail, and weigh around 5 kilograms. The Spotted-tail quoll is currently considered to be a threatened species, but other species are currently listed as endangered. This photograph is significant as an example of wildlife protection awareness programs undertaken by Wooragee Landcare Group in the 2000s in Indigo Shire.Landscape coloured photograph printed on gloss paper.Reverse: WAN NA 0ANA2N0 NNN+ 2 8743 / [PRINTED] (No.22) / 268wooragee, wooragee landcare, kiewa landcare, indigo shire, north-east victoria, farming, conservation, wildlife, quoll, quolls, marsupials, predators, simon feillafe, andy murray, south-east forests, spotted tail quoll, mt pilot, stanley plateau, andrew murray