The photograph was taken above Reservoir Road on the lower slopes of Mt. Holden. It is looking south down Wilson's Lane towards some of the early Sunbury developments which grew around the Gap Road area in the early 1980s.A landscape coloured photograph with rounded corners. It is a panoramic view of Sunbury taken from the southern slopes of Mt. Holden. In the foreground there is a small cluster of trees and in the middle distance there is some evidence of housing development. Bald Hill can be seen on the skyline.wilson's lane, mt. holden, bald hill, sunbury, george evans collection

Gellibrand Hill along with the surrounding 3 properties: Attwood, Cumberland and Woodlands were incorporated into Gellibrand Park during the 1980s. Tullamarine became Melbourne's main air terminal in 1970 and replaced Essendon Airport.A coloured landscape photograph with rounded corners of the Tullamarine Airport taken from Gellibrand Hill. A man with his back to the camera is on the RHS and another person is running down the hill on the LHS. The area in the middle distance is lightly treed and the airport is in the distance to the right of the photograph.gellibrand hill, tullamarine airport, george evans collection

Mrs Hayes worked at the Asylum as a nurse.A black and white photograph of Mrs Dorothy Hayes walking down the road at the Sunbury Asylum. Unmountedsunbury asylum, hospitals, sunbury mental hospital, hays, dorothy (mrs), wilson, dorothy (miss), nurses, george evans collection

A b/w photograph mounted on card of students of Sunbury State School No. 1002 taken in 1914. The group is taken in front of the shelter shed on Macedon Street site. (Names are on the photo and also on catalogue worksheet)Printed on front: Sunbury State School 1914 / "see on back"schools, sunbury state school, macedon street, sunbury, dempsey, bill, walls, stan, -, neville, trask, con, clayton, 'doctor', parke, cecil (saishle), griffins, maurice, ter hofstede, gerat, s, g., titford, willie, healey, perc, austin, johnnie, boardman, eric, wilson, don, smith, d. n., williams, will, baker, arthur, johnstone, bert, clarence, 'darkie', mclauchlin, bob, annie, jamieson, jessie, gilchrist, hazel, balfour, jean, rita, leggett, betty, curry, jim, hudson, ted, ray, flintoft, billie, syd, finn, jack, hilda, mavis, florence, gregor, lilian, dorothy, mclellan, alice, stagoll, millie, polly, leggo, margaret, bailey, lily, mcgregor, butcher, ruth, burke, connie, nellie, ella, alma, phillips, sadie, coggins, eileen, johnston, george, olive, gordon, effie, iris, vera, down, len, mickie, gilmour, wil, wykes, laurie, lacey, alan, huf, c. w. (mrs), shelter sheds, 1910s, george evans collection

A sepia coloured photograph mounted on cardboard of Jackson's Creek in flood, near the weir close to where the old mill stood.written on back in biro: "Down Old Mill / Jackson's Creek / in flood" / ERIC BOARDMANjackson's creek, mills, eadies flour mill, boardman, eric, christiansen, chris, photographers, floods, george evans collection

A number of houses were built within the Sunbury Asylum grounds to house administrators and staff, and their families, who worked at the asylum. After the asylum was closed down and the main asylum buildings were taken over by Victoria University, the surrounding land was developed for housing by the Urban Land Authority, the administrators houses were demolished.A black and white photograph of two bungalow style houses built along a formed but unsurfaced road. A Mini-minor car is parked on the grass outside the first house and a Holden sedan is parked by the curb outside the other house. There are trees growing along the nature-strip and in the background.Written on the back in penci: 1139-8lsunbury asylum, wishart, chas. h., george evans collection

It is a portrait of a person assumed to be a distant relative of the Evans family. The photo has been handed down through four generations to the donor, Jane Ireland.A framed copy of an oval type photograph of a lady. The frame is made up of a brown stained timber on the outside with a gold surround in the middle and a red velvet inner surround. The head and shoulders portrait shows a lady dressed according to the fashion of the late Victorian era.evans, anne, holden, anne, emu bottom homestead, settlers, george evans collection

The stand used when ironing was done on a bench which didn't have iron stands.A metal iron stand with the words 'Servex and 'S' embossed at the pointed end and etched into the straight end. A straight bar down the centre links the pointed tip with the straight back. The sides are raised to hold the iron in place.SERVEX / Sservex, irons, laundering, domestic items, george evans collection

The seals were used on glass drink bottles which didn't have re-sealable stoppers.3 bottle seals - red, yellow and aqua are fastened onto yellow cardboard and wrapped in plastic. The seals clip onto bottles. The inscriptions are in black.PRESS DOWN FIRMLY / KORK-N-SEALfood and drink storage, bottles, bottle seals, domestic items, george evans collection

The blouse made from a man-made fibre which resembled linen and trimmed with crochet motifs and edging was fashionable during the early 1970's. They were often worn with batik printed skirts.A cream linen blouse with three pin tucks and a crochet band on either side of the centre front opening. There is a shell pattern crochet border around the square neckline and across the hem of the short sleeves and around the bottom of the blouse. There are two darts in the back. there are five brown buttons down the centre front."Made in the/PHILIPPINES/..."1970s, clothing and dress, george evans collection

The measuring instruments which were used in the Pharmacy Department at the Sunbury Asylum were collected by a former Curator of the GEM and members of the GEM before the Asylum also known as Caloola closed down in the early 1990's.A small eye dropper with a black cap at the top."CLINTEST"sunbury, sunbury asylum, george evans collection

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols

Michael Leunig is an Australian cartoonist, poet and cultural commentator. His best known works include The Adventures of Vasco Pyjama and the Curly Flats series. Leunig was declared one of Australian Living Treasures by the National Trust of Australia in 1999. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.one colour (yellow) etching on Somerset paper. Thick lines weave in and out to produce a figure reminiscent of his 'curly flat' characters holding a long stem flower/vine. ekphrasis2018, pilgrim, baldessin, leunig

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

This book was handed down to Ken Hirst from his Father Ivan Hirst, who was the grandson of Godfrey Hirst. Godfrey hirst was the organist at St George's church in Geelong and played from this book at the church during a recital.Large thin navy book with gold lettering on the front and gold outer pages.Creationgodfrey hirst

Weaving is the interlacing of two yarns, one at right angles to the other. Yarns that run the length of the fabric are called the warp. Yarns that run across the fabric are called the weft. Most woven fabrics are produced on a loom. The warp yarns are raised to form an opening - the shed. The weft carrier, usually the shuttle, shoots through the shed. Then the warp yarns change position up and down. Finally, the weft is pushed tight against the previous yarns, gradually building up the fabric. Hattersley dobby loom. In working order, black painted cast iron.weaving, george hattersley and sons ltd, weaving machinery, loom, wool processing, textile industry

Weaving is the interlacing of two yarns, one at right angles to the other. Yarns that run the length of the fabric are called the warp. Yarns that run across the fabric are called the weft. Most woven fabrics are produced on a loom. The warp yarns are raised to form an opening - the shed. The weft carrier, usually the shuttle, shoots through the shed. Then the warp yarns change position up and down. Finally, the weft is pushed tight against the previous yarns, gradually building up the fabric. Hattersley treadle loom (revolving box hand loom). Beam of loom was removed and sent to Foster Valley Mill in 1989 to be returned via Tom Crocker. The National Wool Museum gratefully acknowledges the contribution of Mr Fred Murgatroyd & Mr Bernard Tolan in making this Hattersley Loom Operational. Green painted Hattersley treadle loom (revolving box hand loom).weaving, george hattersley and sons ltd, weaving machinery, wool processing, loom, restoration

George Harold Merrett married Dorothy Lorna James at Christ Church, Horsham 14/08/1954. wedding gown and accessories were donated by family members. Photo of wedding couple.Cream lace dress and train overlaying pink satin with attached cream taffeta half slip trimmed with 4 cm cream lace inserted with blue ribbon. Design is scalloped sweetheart neck, dropped waist line and 34 pink satin covered buttons down centre back of the bodice. Sleeves are crossover cap sleeves and 180 cm train from centre back waist line. Pair of elbow length cream kid gloves, three pearl buttons at wrist and cream net horseshoe with apple blossom and pink rayon horse shoe. Full length cream veil attached to pearl and blossom headdress. See also NA4231 Mauve Bridesmaid's dress, NA4138 Mauve hat for bridesmaid's dress and NA3949 Mauve fingerless gloves for bridesmaid's dress.costume, female ceremonial

Plover chick rescued after falling down manhole at Lucknow Street complex of M.M.B.W.plovers, birds, melbourne and metropolitan board of works, smith, george, lucknow street, mitcham

George Harold Merrett married Dorothy Lorna James at Christ Church Horsham 14/08/1954. Wedding Gown & all accessories were donated by family, plus wedding photo.Mauve Damask satin full length gown. Shaped bodice with pin tuck detail over bust line, pin tuck shawl collar across back. Zip closing down back, full flared skirt. Bodice lined with rayon.|Refer to 3985.1-5, 3949.1-2, 4138, 3999.1-2, 4000.1-2costume, female ceremonial

The Thompson brothers, George and Joseph, formerly of Ballarat and the new owners of Yallum Park, established the Glenthompson Brickworks in 1900. The entire process of creating a solid, pressed Glenthompson Brick happens on site, where red and cream clay is excavated. Brick presses dating back to 1940 are still in operation today, the kilns are stacked by hand to ensure specific needs are met and colour varieties are achieved. Refined oil is used to fire down draught kilns, which allows temperatures to be adjusted to ensure unique colour ranges are achieved.Colour photographs of kilns at Glenthompson Brickworks. building, heritage, glenthompson, industry, industrial heritage, brickworks, oven, glenthompson brickworks, george thompson, joseph thompson

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Excerpt of George Russell's Manuscript Diary copied by William Lewis. George Russell, from Scotland joined his brother Philip in 1831 in Tasmania, and farmed there for five years under his supervision. He then followed John Batman's exploratory lead to Port Phillip in March 1836. George Russell later established Golf Hill Station at Shelford. These memoirs describe first visits by Europeans to Lal Lal falls (which weren't running) and Mt Buninyong. These records must have been sought out by the AHRS as Russell had died before the Society was established.

The Australian Historical Records Society existed in Ballarat between 1896 and 1906. They were one of Australia's first historical societies, and were in the position to still be able to talk to early pioneers. They invited such pioneers to either submit letters or memoirs, or to address the Society's meetings, where their reminiscences were taken down in shorthand and later typed up. The Society also attempted to preserve memorabilia from Ballarat's early days, but on the disbanding of the group in 1906, materials were stored at the Ballarat Town Hall and were later lost. It is not known how the papers made their way to the then Ballarat Municipal Library, but they have been part of the Library's collection for many years.Mrs Charlotte Drew was a long term resident of Canadian, an area of Ballarat East. She first arrived in Australia in Adelaide. She and her husband George, who was a carpenter, arrived in Ballarat in 1851, and in these reminiscences she recalls a very lively life.

The businesses along the street include F.W. Niven & Co Printer, the Railway Hotel, Cohens Hotel and the George Hotel.lydiard street north, mair street, f.w. niven & co, railway hotel, cohens hotel, george hotel, building, streetscape, commerical, ballarat