This paper is the first of a series on Aboriginal languages commissioned by the State Board of Education and forms part of a project conducted in conjunction with the Victorian Aboriginal Education Association Incorporated.B&w photographskoori english, education

The plaque was presented in 2013 to Ross Gregory Hall, Senior Lecturer (Production Horticulture) Faculty of Agriculture, Forestry and Horticulture. The letter to Ross Gregory Hall was written by Jolyon Burnett, Senior Industry Program Manager, granting funding for NY538 International Propagators Society Australian Region Annual Conference, Melbourne, May 1996. The agreement between The Horticultural Research and Development Corporation and the Faculty of Agriculture, Forestry and Horticulture for this project. 1. Plaque on wooden board. 2. Letter to Ross Gregory Hall. 3. Agreement between The Horticultural Research and Development Corporation and the Faculty of Agriculture, Forestry and Horticulture for this project.ross gregory hall, jolyon burnett

Mounted display board of photographs and captions depicting silvicultural cutting and timber extraction from 1928 to 1931 at Wellsford, Powelltown and Noojee. Includes Timber Tramway locomotives and bridges.Mounted display

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

Developed in the Research and Development Department of VISY Board by Alex Ong and Richard Pratt, this manufactured version of 'making do' philosophy began with a humanitarian outlook. Less than 100 were made in the pilot program and these were distributed to the homeless through welfare agencies around Melbourne. They were designed to provide some protection from the weather and to be portable and disposable. Unfortunately, the project was short lived, as some safety issues were unable to be resolved: ie, someone inside the bag would not be able to escape should the bag be set alight. It was found that people sleeping on the streets preferred sheets of cardboard or paper to avoid this possibility. Lois Densham heard a story on the radio about these sleeping bags and contacted VISY to see if she could acquire one for the Running Stitch collection. She approached the Collingwood office and it is now believed to be one of the last remaining items from this program.Recycled paper sleeping bag made from brown paper and sealed at the 'mouth' with paper tape (masking tape). Approximately six feet long, it would accommodate an adult.visy board running stitch group, running stitch collection, homeless, sleeping bag, pilot program, richard pratt

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a long drop toliet at the Catholic Church, Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Details of the exterior of St Laurence O'Toole Catholic Church, Sandon in Central Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, sandstone, foundations

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Brick church at Sandon, Victoriasandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a red brick church in Sandon. sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of bushland behind a church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, landscape, road

Emigre Frederick Sterne set up a four-year Interior Design program for the Melbourne Technical College c. 1948. It was the first program of its kind in Australia, On the cover the hand-written words ‘Interior Design’ have a sense of pride in their hand and the drawing of an interior – probably Sterne’s – emerging from the drawing board illuminated by artificial light that projects a future. Suzie Attiwell, 2017interior design, rmit university

Project: Rola Factory from office of Romberg and Boyd. Aerial PerspectiveAerial Perspective, Poster on Board (Colour)

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; two interior perspectives. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. Interior perspectives, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; external perspective. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. External perspective, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

Rectangular wooden honour board with a golden brushed metal plate on the front with black engraved text reading:WANGARATTA HIGH SCHOOL This plaque commemorates the official opening of the Performing Arts Centre By Hon Bronwyn Pike MP Minister for Education On Friday, 21 May 2010 This project was funded by the Victorian Government Principal Heather Sarau School Council President Phillip Haines

Rectangular wooden honour board with golden brushed metal plate on the front and black engraved text reading:WANGARATTA HIGH SCHOOL This plaque commemorates the official opening of the Senior School By Hon Bronyn Pike MP Minister for Education On Friday, 21 May 2010 This project was funded by the Victorian Government Principal Heather Sarau School Council President Phillip Haines

Presented by Lieutenant-General Sir JJ Talbot Hobbs, KCB, KCMG, VD, LLD at a parade held on the Esplanade, Perth, 22 October 1927. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Dark green with gold fringe. In the centre the battalion colour patch of a white over blue diamond within a circle inscribed "TWENTY EIGHTH INFANTRY", the whole surrounded with a wreath of Australian wattle and surmounted by the Crown. In the upper canton the Arabic numeral "28". Battle Honours emblazoned on the colour:- POZIERES, BULLECOURT, YPRES 1917, MENIN ROAD, PASSCHENDAELE, AMIENS, MONT ST QUENTIN, HINDENBURG LINE, GALLIPOLI 1915, EGYPT 1915-16

These letters from 1978, record the first known attempts by Melbourne Legacy to preserve and store their history and what "The Wardens" of the archives believed was the most appropriate way to proceed with the project. Legatees Brian Armstrong and Frank Doolan were appointed by the Board of Management to scope the work to establish and archive as 'The Wardens'. They mention in their report to the BOM that many original files were lost in a fire 'many years ago' and they had collected material from many sources. They felt that a proper storage facility and indexing was required and were not able to complete those tasks. It would appear most of their work remained in their envelopes and storage system until the Victorian Collections archive was created. Came from an envelope labelled 'P2 Archives Origin' in red pen as per the archive system used by the original archive.Significant in that the Board of Melbourne Legacy understood and valued the importance of preserving and documenting the history of Melbourne Legacy. A record that Frank Doolan and Brian Armstrong had done considerable work at creating the initial archive for Legacy in 1978.Two letters about the original attempt to create an archive. 00456.1 Copy of a letter typed on Legacy A4 letterhead, dated 7 February 1978, to the Legacy secretary from Legatees Frank Doolan and Brian Armstrong. 00456.2 Letter typed on quarto Legacy letterhead, dated 10 March 1978, from the secretary advising their letter had been tabled at the Board Meeting.00456.1. Handwritten, "L/tee Brian Armstrong" in blue ball point pen. Stamped COPY ONLY, in purple ink. Signed Frank Doolan and HB Armstrong. 00456.2 Signed Legatee L. F. Johns. Hon Sec Melbourne Legacy.history, frank doolan

Newspaper clipping from The Courier, Ballarat, 5/7/1972, about the concerns of the Brown Hill Progress Association that the tramway preservation project does not become "a plaything" for people who may want to play trams". Spoke about control of the organisation by Ballarat people. Cr. Chisholm noted the BTPS had six Ballarat based members on the Board, including the President. Cr. Pittard moved that a copy of the letter be sent to the BTPS.In red ink in top right hand corner '5/7/72'trams, tramways, brown hill progress association, museum establishment, btps, city of ballaarat

Newspaper cutting from The Courier Ballarat, Wednesday May 24, 2000 about the consideration by the Ballarat City Council of the Tourism Board's report into the proposal to reintroduce tourist trams to the city streets that night. See also Reg. item 1432 for previous days cutting about the outcome. Gives details from the Harrison report. Written by the city council reporter, Carla Danaher. Notes the Harrison Report. (See Reg. Item 1436) trams, tramways, ballarat revival, city of ballarat, harrison report

Twenty Six sheet document pertaining to the reinstatement of trams to Ballarat, presented to the Ballarat City Council on Wed. 24 May 2000. Details are: Sheets 1 to 3 - Cover and contents sheets for the Council Meeting of 24/5/2000 containing the Agenda, Ballarat City logo on white A4 paper. Sheet 4 - pages 37 and 38 of the Agenda, Officers report on the study work carried out, noting the Ballarat Tourism Board work, giving a summary, background, issues, options, financial implications, attachments and recommendation. On a white sheet of A4 paper. Sheets 5 - 26 - on green A4 paper - document titled "Ballarat Tourist Tram Study", final report dated August 1999, though not received by the Ballarat Tourism Board until March 2000. Written by G.D. Harrison Project Management Pty Ltd. Report looks at the marketing aspects, planning, infrastructure, staffing, ticketing and financial analysis, map of suggested route and comparative operations elsewhere.trams, tramways, ballarat city tramway, ballarat revival, harrison report, city of ballarat

Letter to the Editor of The Courier, Saturday 3/2/1996 written by Peter Hiscock, Chairman Ballarat Tourism Board replying to D.H. Woodward's (notes as former councillor) letter of 31/1/1996 (item 1468), commenting that the study should be done before knocking the project. Notes that the questions are valid, but the study should be done. Notes that Mr. Woodward has opposed many heritage projects. Also has a Burns cartoon about cable TV."Sat 3/2/96" in blue ink on top edge.trams, tramways, letter to the editor, ballarat city tramway, ballarat revival

Photo copy of two letters to the Editor of The Courier on a single sheet of paper, collected by Frank Puls. Has Frank's address stamp on the right hand edge. 1. Saturday 3/2/1996 written by Peter Hiscock, Chairman Ballarat Tourism Board replying to D.H. Woodward's (notes as former councillor) letter of 31/1/1996 (item 1468), commenting that the study should be done before knocking the project. Notes that the questions are valid, but the study should be done. Notes that Mr. Woodward has opposed many heritage projects. See also Reg. item 1469 for original of the cutting. 2. Monday 5/2/1996 written by E.Calis of Ballarat, suggest that horse trams should be considered, or a horse and wagon. Both cuttings have handwritten date and newspaper name on the top.trams, tramways, letter to the editor, ballarat city tramway, ballarat revival

Set of three items concerning the restoration project for Horse Tram No. 1, by the Ballarat Vintage Tramway, 1986. 2804.1 - Letter on BTPS Letterhead, dated 8/4/1986, standard letter, seeking sponsorship or financial assistance for the project. Drafted for a Trust. Signed by the President, Frank Hanrahan. 2804.2 - 12 page report comb bound, with clear plastic cover, preprinted cover featuring horse tram No. 7 and light card rear back cover, dark blue in colour. Report gives an introduction, notes on the Ballarat Horse tram service, photos, notes on the BTPS, the project itself, costings, a elevation drawing of the horse tram, operation, sponsorship details, details of the Board, costs and times, and work program and expected cash flow. 2nd copy added 6/2/2005. 2804.2 - ditto, but stapled in top right hand corner. Images added 28/11/2016.trams, tramways, horse tram, submissions, btps, restoration

Yields information about the use of a Museum tramcar for tours in Melbourne during 1989 and has a strong association with one of the people who arranged and drove the tours. Also has a strong association with the Transporting Art project in Melbourne.Photo Album - NCL - consisting of heavy card brown cover with gold blocking and the word "PHOTOS" in gold with 8 black card board leaves, each covered in a plastic sheet or transparent film that covers the photos and bound together with screws. Assembled by Ron Scholten and others for the record of the 1989 visit to Melbourne by BTM tramcar W3 661 arranged by Yapper Tours - Ron Scholten, Peter Bardho and Bob and Monica Campbell. Page 1 - Ron Scholten and Peter Bardho W3 661 - as No. 44 at the BTM depot Three photos at Camberwell Depot Page 2 6 views of 661 at Bundoora terminus and on the "hump" by Preston workshops. Transporting Art - tram launch tickets - trams 1 to 4 Page 3 6 views of 661 at Malvern Depot, and termini that Malvern depot services. MMTB and SEC 8c/10d ticket. (possibly a tour ticket - see Reg Item 8369) Page 4 6 views of 661 - Carnegie, St Kilda, Footscray Transporting Art - tram launch tickets - trams 5 to 7 Page 5 6 photos of 661 - Albert Park, Brunswick, Thornbury? with 676, 612. Transporting Art - tram launch tickets - tram 8 Page 5 6 photos of 661 - Domain Interchange, Essendon, South Melbourne depots and South Melbourne loop. Transporting Art - tram launch tickets - tram 9. Page 6 4 photos of 661 - Essendon, airport, Essendon depot. Transporting Art - tram launch tickets - trams 10,11, and 13. page 7 Yapper Tours - advertising the tours circular with photos by John Belot. Tickets - MMTB, SEC, reproductions of some tickets, 2 hour scratch ticket, zone 1 daily. Page 8 Night photo of B1 2001 and Souvenir Ticket for Melbourne St Kilda - light rail opening 20-21, November 1987. FOHTD collection Reg Item 560 has copies of tickets issued for trams 1 to 17.trams, tramways, yapper tours, melbourne, tickets, transporting art