.1) L-R Margaret Evans, Marilyn Jeffs, Clare Gervasoni (Curator), Lucie Akers (Library staff), Ciara Harrison, Sue Owen (Library Director), Julia Walsh (in white), Caroline Tuener-Booth, Beth Kicinski .2) L-R Margaret Evens, Sue Owen (Library Director), Julia Walsh, Marilyn Jeffs, Ciara Harrison, Lizzie Tongway, Beth Kicinski. Caroline Turner Booth, Lucie Akers (Library_, Neil Huybrets, Clare Gervasoni (curator)sue owen (library director), julia walsh, marilyn jeffs, ciara harrison, lizzie tongway, lucie akers (library_, neil huybrets, clare gervasoni, sue owen, beth kicinski, caroline turner booth, volunteers, geoffrey blainey research centre, margaret evans

Wall Hanging; 3 parts looped red fabric. Featuring a sun. Was located @ Stockyard Galley - Curatorial Officer Shirlee McPherson to collect 10/07 & relocated to storage @ Korumburra Old Council Cahmbers

This list of rocks, minerals, etc. from Victoria was complied and forwarded by the School of Mines, Ballarat, to the Calcutta International Exhibition. At the end of the exhibition the items were to be presented to the Geological Survey of India. One Hundred items are listed. Pages 4 and 5 also show diagrams relating to the land formations and sections. Places in Victoria are named indicating where items were found. List compiled by Professor Ferdinand Moritz Krause. He joined Ballarat School of Mines in 1880 and lectured in Mineralogy and Geology. He was also the Curator of the Ballarat School of Mines Museum.6 pages, handwrittenSignature of F M Krause Dated 30th August 1883ballarat school of mines, rocks, minerals, calcutta international exhibition, geology survey of india, victoria, professor ferdinand moritz krause, mineralogy, geology, curator, ballarat school of mines museum

Colour photographs of the opening of the new permanant exhibition in the museum of the Castlemaine Art Gallery and Historical Museum. Left to right: Peter Perry (Gallery Director), Clare Gervasoni (curator) and Sir James Gobbo (Governor of Victoria).clare gervasoni, peter perry, james gobbo, castlemaine art gallery and historical museum, governor of victoria

Pioneer xrays were undertaken at the Ballarat School of Mines in 1896. They are discussed in this book.Brown hard-covered book of 82 pages. The book includes information onthe discovery of x-ray, Roentgen's discovery, and a number of Australian pioneers of x-ray, including the Ballarat School of Mines experiments in 1896"Donated to the School of Mines and Industries Ballarat by the Musuem, Australian Medical Association, 293 Royal Pde, Parkville. 20/6/78. David O'Sullivan Hon. Curator.frank, g w selby, f j clendinnen, william john hancock, william fox, william bragg, s barbour, lawrence bragg, h m hewlett, martell, j m sutherland, sutherland, t r treloar, treloar, xray, x-ray

The University of Ballarat incorporated the Wimmera Institute of TAFE and the School of Mines and Industries Ballarat in 1998.Black card with invitation details for a dinner to celebrate the ten Year Anniversary of the merger between the University of Ballarat and Ballarat School of Mines. The invitation was addressed to Clare Gervasoni (Curator: Art & Historical Collections). The invitation is in a silver envelope. university of ballarat, wimmera tafe, ballarat school of mines, gervasoni, smith, battersby, crosbie, prospects, prospects restaurant, ballarat

Colour photocopy of an article on the Silver Key Café, Main Street Rutherglen. Copy from an exhibition catalogue "Selling an American dream : Australia's Greek café́ : a nationally touring exhibition / curators: Effy Alexakis and Leonard Janiszewski"silver key cafe, dawn leahy, frank leahy, paul kalkandis

The lake was built in 1904, during the curatorship of Mr Thake. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.Sepia image of the ornamental lake and part of the Curator’s Lodge in the background on the left side of card. The small island with a succulent is in the centre of the image with a similar plant on the right side of it. The water is edged with rocks. Reflections of the plantings and lodge can be seen.Front: ‘The Artificial Lake, Williamstown Gardens. Vic.’ ‘0457/3’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, ornamental lake, crown studios, lee heap furniture warehouse

The Museum of the Ballarat School of Mines was established in 1872. The curator in 1882 was Ferdinand Krause. Prefatory Notice by James Oddie). The want of a guide through the technical collections of The School Mines has long been felt by visitors and students - a guide, not so much to those who merely 'look' at the various exhibits in the Museum, but an instructor to those who desire to take away with them some practical information on the natural occurrence and economical value of the objects exhibited. This want is being filled by the labour of Mr. Krause, whose first installment - 'A Descriptive Catalogue of the Minerals' - is herewith represented to the visiting public." Introduction to the catalogue: " The collection is still in its early growth, and far from being a complete representation of the Mineral Kingdom; many varieties, species, and even whole groups are absent. This state of incompleteness will, no doubt, be adjusted in the sequence, and progressive lists issued from time to time. 'Ad interin' the present catalogue will, be found useful to students and visitors of the School. As far as practicable, the classifications of the minerals accords with that adopted at the Royal School of Mines, London. The numbers prefixed to the species in the catalogue agree with those on the descriptive labels which accompany each specimen, and also with those attached to the specimens themselves. On the descriptive labels the chemical composition of the minerals is expressed in formulae usually employed in standard mineralogical works. Students who have note paid attention to mineralogical chemistry will note that each dot over a symbol is equivalent to one atom of oxygen, .... A bar through a symbol denotes a double atom of the base, .... " In 1882 the collection was housed in 33 cases. The catalogue outlines the specimen types housed in each case. Brown soft covered book of 94 pages with gold lettering on the front. The book includes a plan of the museum layout, plan of the grounds and buildings of the Ballarat School of Mines and a prefatory notice by James Oddie. It also includes handwritten notes by Curator Ferdinand Krause. .2) Business card of I.H. Barbery, engraver with F.W. Niven. The lithography of the plan of the Ballarat School of Mines at the back of the catalogue was undertaken by F.W. Niven.Handwritten inclusion of extra entries (probably by Ferdinand Krause).ballarat school of mines, ballarat school of mines museum, museum, krause, ferdinand krause, fm krause, oddie, james oddie, geology, mineralogy, charles boyd, royal school of mines london, london school of mines, classification

The Ballarat School of Mines, Museum and Laboratories were open for inspection free in 1882, and an officer was ready to accompany and afford information to visitors. A brown soft covered book of 94 pages. It is a descriptive catalogue of the Minerals in the Museum of the Ballarat School of Mines by Ferdinand M. Krause, curator. Illustrations include a plan of the museum and a plan of the Ballarat school of Mines grounds and buildings. The book is indexed.ballarat school of mines, museum, krause, botanic garden, geology, oddie, james oddie, minerals, ferdinand krause, ballarat school of mines museum, ferdinand krause

Art Gallery of Ballarat Gallery Guides toured the University of Ballarat (now Federation University Australia) Art Collection on 07 May 2008. Art Gallery of Ballarat Gallery Guides stand near the Leonard French mural 'Tapestry' at the University of Ballarat Mount Helen Campus. Members of the group include Yvette Hiscock, Lorraine ? , Nicole, Gail Schuler and Univeristy of Ballarat Curator Clare Gervasoniart gallery of ballarat, art collection, gallery guides

This Record Book was printed and published in Melbourne by Sands & McDougall Limited and distributed to be sold by stationers for 1s. 6d (1 shilling and 6 pence) or with Blottings (blotting paper to soak up excess wet ink) for 2s. 6d..The back cover has advertising from the Colonial Mutual Life Assurance Society Limited, an insurance company based in Collins Street Melbourne.Inside the front cover is a Calendar for the year 1897 and a table with dates for Eclipses of the Sun and Phases of the Moon for that year. Contained within the diary is a loose page listing products and an order form for Sands & McDougall. There is also a section titled "Miscellaneous Information" that includes Weights and Measures, Postal Tarriffs, Holidays, Population of various towns and states, education and a Ready Reckoner for Hourly Wages. In UK in early 1800's the word 'mechanic' was applied to a broader range of skills such as working man, tradesman or artisan. Mechanics' Institutes were formed originally for voluntary, self-funded organisations, to improve the education of working men and to instruct them on their various trades. The germ of the idea came from a class formed in 1799 by Professor George Birbeck in Glasgow, Scotland, for journeymen mechanics (apprentice trade workers), with the first Institutes being organised in London and Manchester in the 1820's. By then the original aim had broadened and the Mechanics' Institutes were established as popular agencies of adult education. The Mechanics' Institutes were run by committees that provided facilities for a meeting room, hall suitable for lectures, and a library. Funding was raised locally and often supplemented by grants from government agencies for the purchase of books and other resources. Activities were community based. In Australia, Mechanics' Institutes were set up in New South Wales and in Tasmania in the late 1820's. Mechanics' Institutes began in Victoria, with the first one in Melbourne dating from 1839, providing similar services but in time offered services tailored to their specific area. Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. "These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In q856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art., and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. In 1975 the original building was demolished and the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: - The new City Library took some of the historic books and some important documents, historic photographs and newspapers. - The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. - The Historic Society has some items - The State Museum has some items - Some items were destroyed - Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. NOTE: Pages of this book have been digitally recorded and archived.The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. Record book, Warrnambool Mechanics Institute Curator's Diary, 1897,June to Dec (Donations). Printed and published by Sands & McDougall, Melbourne. Australian Rough Diary 1897 No 4, Card covers printed with advertising, 7 days to an opening, lined with cash columns.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, warrnambool mechanics' institute, mechanics' institute records warrnambool, record book c. 1897

This letter was written by Henry Davis, editor of the Warrnambool Standard, to Joseph Archibald, curator of the Warrnambool Museum. Dated 11 October 1883, it refers to Davis’s recovery of a saturated volume of ‘Longfellow’s Poems’ from the sea at Loch Ard Gorge. The retrieval of this book, and its possible connection with one of the survivors from the LOCH ARD shipwreck in 1878, prompted Archibald’s letter of 1 December 1883 to Eva Carmichael, and Eva’s reply of 21 January 1884 (No, it was not her book). Miss Carmichael’s reply to Archibald’s inquiry (2290.4) and the water-damaged book itself (541) are both in the Flagstaff Hill collection along with this letter from Davis, which connects the two. The Davis letter reads: “Dear Sir, ― This book was found by me in the waves which broke on the sands [….] the Gorge where Tom Pearce rescued Miss Carmichael after the wreck of the ill-fated ‘Loch Ard’. I ran in with the receding waves and picked up the soddened volume, and, coincidentally, the first illustrations that met my gaze, on parting its dripping pages, was that portraying the fair maiden in the ‘Wreck of the [Hersperus’.] On the Bluff, 200 feet above me, were the dead forms of Mrs and one of the Misses Carmichael, whilst [by] them, stiff and [….] were two gentlemen passengers [by] the wreck[ed] [v]essel]. Having just left them before [….] [my] capture in the Gorge, you may imagine [m]y feelings on alighting upon, under such circumstances, Longfellow’s beautiful and sympathetic poem. Yours truly, H.W. Davis.” The book referred to here is The Poetical Works of Henry Wadsworth Longfellow, 1877, Nimmo, London. It is on display under glass in the Great Circle Gallery at the Maritime Village, alongside a typed transcript of the Davis letter. A 1996 audit of the rare book collection at Flagstaff Hill notes: “Inscribed ‘Loch Ard June 1 1878’ in pencil within ― believed to be a salvage from the shipwreck”. The letter is connected to the salvaged items from the 1878 LOCH ARD shipwreck, which is of State significance ― Victorian Heritage Number S417Letter from H. Davis, editor of the Warrnambool Standard, to J. Archibald, curator of the Warrnambool Museum. It was handwritten in ink on “Standard Office, Warrnambool” letterhead note paper, and dated 11 October 1883. The cursive script appears carelessly written and the original single sheet of paper is in poor condition (torn and creased). At some stage the original document has been backed with stiff cardboard and then sealed in a clear plastic cover.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch ard, longfellow’s poems, eva carmichael, joseph archibald, henry davis, warrnambool standard

Judge's comment "The Federation University Australia Historical Collection was chosen as winner of the Award for their records which contain good provenance and stories, wonderful clear photographs, and a great range of items across their collection."In 2016 Federation University Geoffrey Blainey Research Centre won the Victorian Collections Award for Excellence in Museum Cataloguing. The award was accepted by curator Clare Gervasoni. L-R ? , Clare Gervasoni (Federationi University), Belinda Ensor (AMAGA VIC). Cameron Auty (AMAGA)clare gervasoni, belinda ensor

The Curator's Cottage is in the background.ballarat botanic gardens, lion statues, building, statue

Found in the Curator's CottageBrass Troughton & Simms, London optical dumpy level on compass base. Made for Kilpatrick & Co, Melbourne. See B91.126 for photograph of student using it Circa1968.Troughton & Sims LONDON Kilpatrick & Co Melbourne No. 702surveying equipment, students, landscaping

Purchased by the Curator for the Glaxo Collection.Glucodin Tin coloured light grey with text on all surfaces except the basePRODUCT OF THE GLAXO LABORATORIES GLUCODIN-Dglaxo, glucodin, additive, glucose

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here we see a creation of the type whose beauty is said to have astonished the celebrated sixteenth-century tea master Sen no Rikyu. Originally, confections of mochi (steamed and pounded rice) filled with bean jam were wrapped in chigaya, a species of reed, and came to be called chimaki. We are told that a shopkeeper named Kawabata Doki used bamboo leaves to wrap the chimaki he presented to the emperor Gokashiwabara (1464-1526) and that thereafter the use of bamboo leaves for wrapping such confections became predominant. In fact, the bamboo-wrapped chimaki seen here are known as Doki chimaki after the pioneering shopkeeper, and it is small wonder that this product of Kyoto should have an air of refinement and dignity suggestive of the imperial court. The two different flavours of the contents are indicated by exposing either the upper sides or the undersides of the leaves. The cord used to bind the chimaki together is made of rushes, and ceremonial gift cords (mizuhiki) are attached. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

An exhibition, mounted by the Kew Historical Society, featuring a number of photographs and objects exploring the historical roles of the asylum in our culture, focusing on the Yarra Bend Asylum, the Kew Lunatic Asylum (later Willsmere Hospital) and the Kew Children’s Cottages. Photographs of the opening night of the exhibition on asylums by the Yarra, organised as part of the Kew Festival 2017. Institutions featured were: Yarra Bend Asylum, Kew Lunatic Asylum, and the Children's Cottages Kew. The exhibition was opened by Astrid Judge. The co-curators were Robert Baker and Judith Scurfield.kew historical society - exhibitions, childrens cottages kew, yarra bend asylum, kew lunatic asylum

Picture shows the Curator's Residence and Aviary. ballarat botanic gardens, garden, aviary, public, persons

Two copies of ' Decorative Arts from the Newson Collection.' Bendigo Art Gallery Publication 1981. Catalogue compiled and researched by Jean Newson, Honorary Curator of Decorative Arts.14 pgs. (ill.). Bottom left corner of front cover is sticker with the number 0137.1 NEW, 0137.2 NEW.artwork, newson collection, bendigo art gallery, artwork, art, decorative arts, silver, porcelain, furniture, antiques, collection, newson family. bottom left corner of front cover is a stcker with numbers 0137.1 new, 0137.2 new.