JACK EMMETT COLLECTION Early 1900's Victoriana paper glossy scrap sheets cut-outs including 'Giant relief No. 895 - deer/rabbits -people animals and birds from around the world /angels -sign attached 'Gigantic Relief No.978 Raphael Tuck & Sons Ltd - Christmas cut-outs / 'Giant relief No. 920 / child wearing a bonnet carrying flask and a parcel titled 'Father's Dinner ' / picture of Postman titled 'The Jolly Postman / colour enhanced photo 'The Queen's Grandchildren -Child's Own magazine 1865 '- writing on back 'Prince Frederick William born …1859 , Princess Charlott .., Prince Henry / piece of paper with brown print - 'The Kings Business -Nicholson - Hemminger United Mission - Royal Princess Theatre -Evangelistic Services showing days with corresponding lecture subjects.Raphael Tuck & Sons Ltdephemera, mementoes, raphael tuck & sons ltd / -child's own magazine 1865 ' ./ nicholson - hemminger united mission

This group of men are considered fathers of Australian Federation. Sixteen men of the members of the Australasian Federation Convention, 1890. The bearded man standing in the centre is Henry Parkes. Hon. Andrew Inglis Clark (Tasmania), Hon. Sir Samuel Walker Griffith KCMG (Queensland), Hon. Thomas Playford (Sth. Aust.), Hon. Alfred Deakin (Victoria), Hon. Bolton Stafford Bird (Tas.), George H. Jenkins (Secretary to the Conference), Hon. Capt. William Russell Russell (New Zealand), Hon. Sir Henry Parkes (New South Wales), Hon. William McMillan (N.S.W.), Hon. Sir John Hall KCMG (N.Z.), Hon. John Murtagh Macrossan (Qld), Hon. Duncan Gillies (Vic.), Hon. John Alexander Cockburn M.D.(Sth.Aust.), Hon. Sir James George Lee Steere (Western Australia).national conventon, henry parkes, federation, duncan gillies

Documents relating to the National Folk Festival 96 held in Canberra on 4th to 8th April 1996. Included are suggestions for activities, information for performers, Festival Shop, Emu Creek Bush Band CD Launch and Performers' Consignment Stock List. Also Australian Tradition at the 1994 National Folk Festival, Canberra with a program of events for the Friday, Saturday and Sunday. There were dances, music and a Colonial Parade. Forthcoming Events are also listed. There are some small photos. Also Suggestions for the 1994 National Folk Festival Canberra by the Bush Dance and Music Club of Bendigo combined with the Celebrated Emu Creek Bush Band. Pasted onto the bottom of the page are two sketches of kangaroos, emus and some other animals and birds either dancing or playing instruments.clubs, music, national folk festival, peter ellis collection, j williams, peter ellis, emu creek bush band, maggi kerr andrew, jo cresswell, phil wilson, alan russ, joseph jenkins, welsh swagman, bendigo bush dance and music club, 1994 national fold festival - canberra, gwen burke, graeme murray, peter ellis, wongawilli colonial dance club inc, emu creek bush band, wongacreek, rob & olya willis, gwen burke, graeme murray, crooked corner band, john warne, peter painter, stan treacy, athol & eileen mccoy, tex morton, carrie milliner, jeff brownrigg, carole garland, bruce cameron

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Very few of the natural or built features in this panoramic photograph of Wellington Street remain. The open land between High Street South and Denmark Street, then known as O’Shannessy’s Paddock, was to become a residential subdivision at the beginning of the 20th Century. On the far side of Denmark Street, bordered by a picket fence, is the Kew Railway Station (demolished 1957). Further east, the large building with the flagpole is the Kew Recreation Hall (demolished 1960), which was the centre of civic life for almost a century. The building was used for dances, civic functions and exhibitions. A bowling green, tennis courts, and a cricket ground surrounded the Hall. The dominant building in the photograph is Xavier College, founded in 1872 by the Society of Jesus. The first classes for pupils were held in 1878. It is presumed that Farquhar used its roof for two of his bird’s eye views.Wellington Street from High Streetkew illustrated, kew where we live, photographic books, henry kellett

A chest (.1), housing a lawn tennis and badminton set. Black and green lithographic print features couples playing mixed doubles tennis and badminton in Cassiobury Park, with Cassiobury House in the background. Inscription: THE CASSIOBURY GAMES OF/BADMINTON AND GARDEN TENNIS/.../LONDON/DEAN & SON 160 FLEET STREET. The hourglass court used in Wingfield's version of lawn tennis is depicted in this lithograph. Contents include: racquets (.2 -.3); tennis balls (.4 - .5); shuttlecock (.6); badminton net (.7); guy ropes (.8 - .9); ornate pegs (.10 - .11); mallet (.12); and net posts (.13 - .14, 2 parts each). Materials: Wood, Metal, Ink, Glue, Paint, Paper, Lacquer, Gut, Rope, String, Velvet, Bird feather, Felt, Rubbertennis

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th centuryThis Powerful Owl has medium brown to dark grey-brown above, with white barring, and off-white front. The glass eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: no markings taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

The Powerful owl is native to south-eastern and eastern Australia and is the largest owl on the continent. It is found in coastal areas and in the Great Dividing Range rarely more than 200 km (120 mi) inland. An apex predator in its narrow distribution, the Powerful owl is often an opportunist like most predators, but generally hunts arboreal mammals, in particular small to medium-sized marsupials. It is a typically territorial raptorial bird that maintains a large home range and has long intervals between egg-laying and hatching of clutches. Unlike most raptorial birds, male Powerful owls are larger and stronger than females and so the male takes the dominant position in the mating pair, which extends to food distribution. This example of a Powerful Owl show lighter brown coloured feathers and slight discolouration. The Powerful Owl has darker colourings and whiter feathers in real life. This example also show discolouration in the feet and they are brighter yellow in colour in real life. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Powerful Owl has medium brown to dark grey-brown on its wings and back, lighter patterning on its chest lightening with white barring, and off-white front. The eyes are yellow, set in a dark grey/brown facial mask. The legs are feathered with yellow/browning feet and talons. The specimen stands upon a wooden platform and has no identification tags attached. Swing-tag: n/a Metal tag: n/a Mount: wooden with no markings.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, powerful owl

Sales brochure including photocopy map of Stokes Place lots and Sales Manager's business card (John J. Herold). Stage 1 implemented c.1976 and Stage 2 c.1979. As shown on the plan, the lots along Diosma Road did not eventuate due to the lack of sewer system. These lots and streets were divided up into 5 acre blocks, which were not able to be subdivided till the 1990s when the sewer was run up Diosma Road. Stokes Place was part of the Stokes Orchard Estate which was developed from the break-up of the the orchard owned by Frank Stokes who lived on the northeast corner of Nyora Road and Eucalyptus Road. His daughter Beryl advised that the Shire had levied a rate assessment on individual parcels of land within the orchard which became unaffordable resulting in its sub-division and sell off. The Stokes Orchard Estate was developed by Macquarie Builders in two stages starting with stage 1 in 1976. Stokes Place was part of Stage 2 in 1979. The Estate was bounded between Nyora Road, Eucalyptus Road, Diosma Road and Stokes Place. The original orchard only just reached the left most portions of Stokes Place and did not go fully up to Diosma, rather to just beyond the extant of Stokes Place. Stokes Place was known within the family as "The Oats" as that is where they grew oats. Frank Stokes moved to Eltham c.1945 after visiting Harold Bird to view his orchard, located diagonally opposite Stokes Orchard from the intersection of Eucalyptus Road, Pitt Street and Nyora Road. It was on Harold Bird's recommendation that Frank purchased the land.The Stokes Orchard Estate collection is typical of housing developments of the late 1970s and 1980s. It was one of the earliest estates in Eltham following the nearby Woodridge Estate development.A4 colour brochure double sided, A4 photocopy and business cardAs notedstokes place, eltham, stokes orchard, stokes orchard estate, streets, houses, peter and carla vermey

Otto Lilienthal (1848-1896) from Berlin, Germany, is widely credited as being the first person to make repeated successful gliding flights. He was known for adopting a thorough scientific approach founded on observations of the flight of birds in relation to the problem of inventing a man carrying heavier than air machine that would fly. He developed and tested bird-like gliders controlled by weight shift by the pilot (a similar method to modern hang gliders). The pilot held on to the glider with his forearms resting in hoops mounted on the main structural beam connecting the wings. The weight shift was achieved by the pilot swinging his trunk and legs. In contrast, the pilot of a modern hang glider is suspended below the glider and, with the use of an A-frame, allows the whole body to be moved around to achieve control. The Lilienthal design apparently had a tendency to pitch down and a tailplane was added to mitigate this problem. Lilienthal flew from hills in the Rhinow region and from a conical hill he built near Berlin. He made over 2000 flights. Importantly, for others seeking to progress manned flight at the time and also for the historical record, reports of Lilienthal’s flights (some with photographs) were published and Lilienthal detailed his experiences and corresponded with other flight pioneers. Lilienthal’s work became well known and influenced Orville and Wilbur Wright in their initial experiments with gliders in 1899 (although in their quest to design and fly an aeroplane they relied on new data created by wind tunnel testing). The replica built by Bruce Hearn is of the 1893 Lilienthal glider. It is very similar to the “Normal-Segalapparat” (Normal Glider) for which patent protection was later granted a few years later. The Lilienthal replica glider is an important addition to the AGM collection as it represents the beginning of successful gliding flight. Hang glider made of wood with wire bracing – yet to be covered with authentic cotton fabric. The glider has a small plate with identification details including name of builder (Bruce Hearn) glider, hang glider, lilienthal, hearn, replica

The Orbost Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). ( info. Margaret Smith) Included in the photograph are: Wm Kerr; D. Robinson; Lance Herbert; Fred McCoy; Jacob Perry; Ted Eaton; Jack McKeown; Wm Cumming; Harry Cameron; Dick Pardew; Wm Cowell; John Bird; Paul Spadaro; Carl Dreverman.Lawn bowling” is an outdoor game that has been popular for centuries. Bowling clubs play a significant role in community recreation needs. This is a pictorial record of this recreational activity in the first half of the 20th century.A black / white photograph of a large group of men playing bowls on a bowling green. Some are dressed in whites and others in suits.orbost-bowling-club sport recreation lawn-bowls

Vol. 7, No. 3, Jul-Aug 2002 CONTENTS Comment 2 Home Country: The Art of John Waller 3 by Dr Christopher Heathcote Short Story: Meeting People Andrew Hutchinson 7 Strange Memories Barbara Blackman on the art of Anna Glynn 10 Walking the Talk 12 Reconciliation in Eltham World Environment Day 13 Poetry news and reviews 14 John Jenkins Australian Classical Music 15 Elizabeth Scarlett Short Story: The Thinkers Library 16 Trevor Hay CD Reviews Kerri Simpson, Brian Brown 22 Book Review Ecological Pioneers 24 Coffee 25 Australian Landscape Conference 26 How many birds is that? 28 Artin' About 29 Wining & Dining 30 Artin' About 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, winter in banyule, john waller, bundoora homestead, willy wonka's ice cream gourmet food, bibby's bahnhof cafe, eltham fullife pharmacy, andrew hutchinson, bulleen art & garden centre, dynamic vegies, montsalvat, anna glynn, aboriginal reconciliation, marg woiwod, mick woiwod, andrew ross museum, trevor hay, st andrews hotel, chris pittard, mary-lou pittard, eltham wiregrass gallery, thompson's pharmacy, heide museum of modern art

This testing voltmeter recorder was last certified by SEC Vic laboratories on the 17/4/77. It was used extensively as mobile recorder placed for periods of one month at locations experiencing unacceptable fluctuations of power. These locations would cover the North East regions of Victoria. They cover voltage drops at domestic and business properties especially those that were experiencing regular fluctuations(daily) at approximately the same time of the day. As the electrical network is required to operate within a set level of voltage, fluctuations outside of this has to be investigated and necessary remedial action taken. This is especially so for rural properties where power "drainage" can occur through animal/bird and tree interference. It can also be the result of defective wiring and overloading at peek operational times (milking machines).This mobile voltage recorder is very significant to the Kiewa Valley because it highlights the difficulties that can occur in maintaining a power supply that experiences fluctuating power demands by the rural industries that it supplies. The requirement of a mobile testing apparatus to cover the various sections in the Kiewa Valley and other rural areas in the northeast region is one of necessity as electricity once connected to a rural property is a labour saving supply as generators on rural properties require a higher degree of maintenance an ultimately at a higher cost. The testing of the SEC Vic supplied electricity to rural properties,those who had previously run on generators, had to be quick and unassuming with certainty of correct supply levels.The mechanism of this voltage recorder has been installed(by the manufacturer) into its own protective wooden box. This box has a front (swing open) lockable section which permits direct access to the installed measuring equipment (for servicing and data collection). The top section of the box has two screw on terminals for access to the machine being tested. This tester has its own inbuilt ink supply facilities and a mechanical clockwork device that unwinds a roll of paper onto a second roll at a rate of 10 mm per hour. The recording chart is marked with time slots against voltage. There is a recording arm which has an ink pen at the end. Both arm and pen carry the ink supply from the ink reservoir, located on the left side of the cabinet door in specially constructed bottle holder( three small bottle capacity). To record a suspect power problem to a home or business establishment the voltmeter is connected to a power supply outlet being tested and wind the recording clockwork mechanism (gives a four week running time). Before leaving the recorder in situ the electrician checks to see if the chart is recording the correct voltage and that the clock mechanism is advancing correctly.On the front of the access "door" at the top a metal label "RECORDING AMMETER" below this "MURDAY SYSTEM" below this "ALTERNATING CURRENT" and below this the manufacturer's registered number "No. 139156" Below this is a metal tag with State Electricity Commission of Victoria Electrical Engineer's Section equipment number "338" Below these tags and above the viewing window is the manufacturer's dtails "EVERSHED & VIGNOLES Led LONDON"sec vic kiewa hydro scheme, alternate energy supplies, alpine feasibility studies temperature, rainfall, power outages

This item was given to the Historical Society in 1972, with the donor indicating that the spirit level belonged to the Henty family. The Hentys of Portland are regarded as the first permanent settlers in the State of Victoria (1834). Stephen Henty, with his brother Edward, was involved in the whaling industry in Portland. He also had shipping interests, operating a regular Western District shipping service (‘Champion’, ‘Lady Bird’, ‘Western’, ‘Edina’ etc) and a property ‘Cadnook’, near Harrow. Stephen Henty had close connections with Warrnambool not only because of his shipping interests but also because he was the brother-in-law of an early Warrnambool Harbour Master, Captain Frank Helpman. A spirit level was an essential tool for early settlers as they often built their own homes and constructed the roads nearby, needing to ascertain if what was being constructed was on level ground.It does not seem possible to establish whether this item belonged to the Henty family or to a Henty property. But in the Historical Society collection we have a piece of sheet music which includes the handwriting ‘Mrs Smalpaige, Cadnook’, ‘S. J. Henty’ and the date ‘8th August 1859’. Also the Warrnambool Art Gallery has an authentic Henty piano dating from 1837 and Stephen Henty’s wife died in Hamilton in 1906 so it is possible that the spirit level came to us from a Henty family descendant living nearby via Mr N. Kelly. If the Henty provenance can be proved then this item is of high significance.This is an unvarnished wooden spirit level, apparently home made, with a bubble in the centre. The top has been attached with eight screws, now much rusted. There appears to be some letters in the bubble area but they have not been deciphered “Hentys spirit level, oldest in Australia” is written in ink on the back of the objectspirit level, henty brothers portland, warrnambool, henty family

This is a photograph of students from Orbost State School. Those in the photograph have been identified by Mary Gilbert. Back Row L-R - Eva Morgan; R. Powell; Doris Smith; ?; Mona Arkins; E. Hardy; H. Beattie; Molly Hammill; Jessie Morgan; Kath Daley; Jessie Gall; Nina Williams; Billy Kerr; Gwenda Beveridge; Emily Mackley; Chrissie Mackley; Myra Malcolm; Annie Malcolm; Betty Gilbert; K. Beattie; Doreen Feltis; B Woodlands; ?; ?; ?; Carl Wehner; Bill Grose; Ham Bird; Eddie Lowater; ?; Jack Morgan; B. Hawkless; Jack Nixon; Harry Perry; Georg perry; Arthur Simpson; Albert Shaw; Bill Laycox; ? Lock; Neha Cameron; Stan Smith; Stan PorterThis photograph is associated with the history of education on Orbost.A black / white photograph showing a group school children in front of an outside wall of a timber building. Seated in the front row is a boy holding a sign with "GRADES 5 & 6" hand-written in what appears to be white chalk on a blackboard. The photograph is mounted on grey card and has a list of names attached to the bottom.

The general public was fascinated by the nightly 'Penguin Parade' on Phillip Island. Many articles have been written about the birds and the Penguin Parade attraction since the 1930s. So many people spent their summer holidays on Phillip Island in one of the many guest houses, then caravan parks and holiday homes and a visit to the Penguin Parade by them and their visitors was very common during their holidays. Articles tended to be a mix of basic penguin behavior information and anthropomorphic descriptions. Accompanying photographs were almost invariably taken by flashlight (now illegal), or of penguins taken from their burrows during daylight hours for photo opportunities. This article, written in the 1950s, describes the management of the Penguin Parade at that time as being run by the Penguin Preservation Committee. This was before the Phillip Island Council took over running the Penguin Parade. The article provides evidence of the level of knowledge about Phillip Island's Little/Fairy Penguins at this time. (1957)single full-page magazine article, black ink on white paper. Photocopied from original, so photos appear as black and white.little penguins, fairy penguins, eudyptula minor, phillip island penguin parade, dorothy vernon, penguin rookery, penguin behaviour, phillip island tourist attractions

Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi

The Osborne Peninsula on the Yarra River at Warrandyte accommodates a limited number of properties and residents (70 households). The area is rich in geology and ecology, and an unusually rich endowment of human, built and creative history. Contents: Welcome: The landform: The River: Aboriginal occupation: The Miners: North Warrandyte :The Subdivision: The Lowes: The Osbornes: The Last Osborne: The Elders: The Relics: Dray Track: Water Wheel"Kauri Plaque: River track: Pines: Windmill Creek Bridge: The Koornong School: The Houses" Man Cave: MidCentury Classic: Enduring Original" Masterwork: The Muddies: The State Park: The Saving of Koornong Reserve: The Landcare Story: Flora and Fauna: The Vulnerable, Endangered and threatened: Birds: Mammals: "Waring" the wombat: Reptiles: Fish: Invertebrates: Flora: Fire. Published by the North Warrandyte (Osborne Peninsula) Landcare Group. Includes photos from EDHS collection.64 p. : ill., map ; 29.7 x 21 cm. (2 copies)yarra river, birrarung, dray track, fauna, geology, houses, indigenous history, koornong reserve, koornong school, lowe family, mining, mudbrick houses, north warrandyte, osborne family, warrandyte state park, water wheel, north warrandyte (osborne peninsula) landcare group, osborne peninsula

Black and white photograph - Grade 5A, 1972."Attached to photograph" Back Row- L to R: Jef James, ?, ?, ?, Ted Beard, Gary Oxley, Craig Lucas, Lyal Tan, Cameron Nichol. 2nd Row- L to R: ?, ?, Andrew Taylor, John O'Sullivan, Rodney Cuthbert, Angelo Espizito, Ross Bird, Wayne Hodgson, ?. 3rd Row- L to R: Vicki Jacobs, ?, ?, Dianne Axford, Ingrid Birgna, ?, ?, Elizabeth Cuzens, ?. Front Row- L to R: Helen Mesur, ?, Teresa Taggart, Julie Griffith, Cathy Riggerans, Janet Taylor, Natalie Beresnik, Julie Griffiths, Lori Lancaster. Teacher:

This pocket knife is believed to have been used by an employee of the Bacchus family and possibly given to the employee by the Bacchus family. It is therefore an object with a probable linkage to one of the earliest European colonist families in the Bacchus Marsh area.A pocket knife with mother of pearl handle and a silver blade.On the handle on one side there is an engraved decorative design featuring a bird, leaves and flowers. Along the middle of the handle there is a blank cartouche of silver, intended for the name of the owner. On the other side there are two engraved starbursts. On the blade there are five hallmarks, a crown, a lion passant, head of Queen Victoria, letter G and the letters JM. The crown represents Sheffield. The lion passant indicates the knife was made in England, the image of Queen Victoria is a Duty Mark, the letter G indicates that the year of manufacture was 1850. JM indicates one of two manufacturers - JM or Mappin & Son.knives, bacchus family

The Silver Gull is more commonly referred to as the 'Seagull'. Found all along the coast of mainland Australia and Tasmania, it can also be found in New Caledonia and New Zealand. These birds are a common nuisance at beaches and urban areas, such as shopping centres. Since the 1950s, humans have become increasingly wasteful, leading to an explosion of the Silver Gull population due to the availability of rubbish to scavenge. They feed mainly on small marine life, but they are a versatile scavenger. The population increase has impacted the breeding of other bird species, as Silver Gulls have dominated offshore island breeding grounds. Their breeding season is from August to December, when they nest on the ground, however mating can occur year-round. This species has a harsh, high-pitched call 'kwarwh', well known to all Australians. Although protected under Australian Environmental Law, there are many strategies in place to discourage increasing the numbers of Seagulls. This specimen is an inaccurate example of a Silver Gull, which although is in good condition and intact, does not look like an accurate representation of this species. The legs have been mounted too far towards the tail on this specimen, giving it an unbalanced appearance. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This adult Silver Gull has a white head, body, underpart and tail. Its wings are silver-grey, with black and white tips. It has an orange-red bill, feet and beak, indicative of its maturity. The irises are white. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 11a / Silver Gull / See catalogue, page, 40. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, seagull, silver gull, australian bird, nuisance

Grade 1/2 1994. Names taken from typed legend below each photo (via OCR). Photos mounted on Kuddly Koala School Portraits Card. Top Row: (L to R) Timothy Dalton, Sros Sok, Denis Felic, Michael Senton, Rebecca Lewin, Varun Bhatia, Sonya Shafaati 3rd Row: Annie Chen, Diana Stevanovic, Jessica McDonald, Sean Coleman, Mrs. Glenda Winchester. 2nd Row: Teneille Bird, Sharon Legg, Amanda Ashdown, Jane Truong, Nicholas Macklin, Steven Butkovic, Vanny Tin, Christian Santos. 1st Row: Phillip Rouse, Ben Taylor, Aaron Roberts, Kate Hayes, David Doyle, James Davidson, Marie Weaver, Daniel Guy. Teacher: Mr. Jan Michelson. Principal: Mr. Geojf Buzaglo.

Yields information about the special tram and the people involved at the time of the formation of the BTPS prior to closure of the SEC operated system.Set of three digital images of tram 36 advertising the Lake Tramway Preservation Meeting at the Town Hall 31/5/1971 by Chris Phillips. .1 - tram at Gardens loop with the motorman L Bird pulling the pole down - similar photo to that of The Age Newspaper, see Reg Item 2487. .2 - tram turning from Sturt St into Lydiard St North with the Post Office and the Mining Exchange buildings in the background. .3 - tram at the City stop, south side of Sturt St with the Town Hall and Myers in the background. Also has the tram stop signs in the photograph. See also Reg Item 1064 for the newspaper clipping, 2487 for a print of The Age photograph. See 7033i4 for notes on the tram and who made the banner - thought to be Tom Clark. Imagebtm7033i2bw - black and white version of the slide use in the Long Gallery imagebtm7033i2co - colour hi res scan.trams, tramways, lake wendouree, charters, museum establishment, btps, sturt st, gardens, lydiard st north

Has a strong association with tram crews and the rosters crew workings, possibly inspector (Dave Kellett?) in Ballarat. Prepared by crews from sheets to enable them to know what service times to run, meal times, details of crew changes etc, based on their allocated shift or run from the roster.Twenty two (22) page notebook with white card board covers with a drawing of boy and birds on the front cover and the Eiffel tower on the rear, spiral bound by a red covered wire. The front cover drawing has been overprinted in colour. Headed on the top of the cover is "SATURDAYS ROSTERS" in black ink. Each sheet faint ruled, both sides, with some additional pages fixed in. Has the hand written details of each SEC Ballarat runs, Saturdays runs, - giving sign on times, notes, timetables, which run taken or taken by, meal times, notes with regard to special instructions, finish times notes with corrections and changes. Includes Motormen and Conductors Runs. Image 1 shows covers and image 2, one of the sheets with the runs printed on both side of the page. Thought to be the timetable roster prior to the 3/1970 Roster being introduced. trams, tramways, ballarat, rosters, employees, shifts, timetables

The purchases and services recorded indicate that the user was an ironmonger. Origin of ledger unknown. Early business in Sandhurst in 1860s.An account ledger used to record the purchases and services made for a business. Records date from 1860. The ledger is covered with brown leather with decorative edges. There are alphabetical tabs at the front of the book with lists of names. Individual customers are allocated a double page entry. Pages are ruled and numbered. The book is in very poor condition having obvious signs of water and insect damage. The writing in the first quarter of the book is barely legible, remaining pages can be read. Some names - Durant, Watson, Mollison, Harris, Neale, Cahley, Bannerman, Larritt, Cranshaw, Gripe, McLachlan, Burrell, O'Loughlin, Cameron Rogers, McLevey, Nicholas Eliad?, Crago, Hopsell, Grant, Bird, Cahill, Harker, Parker S McKinlay, Fletcher, Birch, Cruikshank, Municipal Council, Heffernan and Crawley, Buckley Bros, John Harney, Bywater and Brother, Goulding, Casey, Reynolds, English, McKenzie, Knight, David Mackay."LEDGER" on the spine. Label inside "Sands and Kenny. Account Book Manufacturers. Stationers and Printers Melbourne"bendigo businesses, ironmonger

Prior to the sealing of the Princes Highway west of Orbost, the road surface was anything but good, even by C1917 when cars started to use the road. From Orbost the old road via Marlo to Sydenham was abandoned for the new location which traversed more rugged country via Cabbage Tree, Bell Bird and Club Terrace to Cann River, and the reason for this diversion was on account of settlements being established at Murrungowar and Club Terrace, at which latter place there was a temporary rush to obtain gold. This road was constructed by the Public Works department and a maximum grade of 1 in 19 was adopted, and as speed was not to be catered for the grade followed in and out round the spurs and gullies, resulting in a maze of turns and twists which required a good deal of skill on the part of the horse driver to negotiate." - Bairnsdale Advertiser, Friday, May 2, 1947. (More information from Newsletter February 2010)This is a pictorial record of an early road distance sign on a major highway through East Gippsland. The distances are indicated in miles, a measurement standard no longer in use.A black / white photograph postcard of the signpost at the Victorian - New South Wales border. It shows distances to Sydney and Eden on one arrow and distances to Melbourne and Genoa on another. on front - Vic - NSW Borderprinces-highway-east-gippsland road-transport road-sign

Prior to the sealing of the Princes Highway west of Orbost, the road surface was anything but good, even by C1917 when cars started to use the road. From Orbost the old road via Marlo to Sydenham was abandoned for the new location which traversed more rugged country via Cabbage Tree, Bell Bird and Club Terrace to Cann River, and the reason for this diversion was on account of settlements being established at Murrungowar and Club Terrace, at which latter place there was a temporary rush to obtain gold. This road was constructed by the Public Works department and a maximum grade of 1 in 19 was adopted, and as speed was not to be catered for the grade followed in and out round the spurs and gullies, resulting in a maze of turns and twists which required a good deal of skill on the part of the horse driver to negotiate." - Bairnsdale Advertiser, Friday, May 2, 1947. (More information from Newsletter February 2010)n the late 1800's early 1900's transporting goods by road was difficult and at times impossible because roads as thoroughfares did not exist.The means of travelling along the roads in the 1800's was by bullock wagon, horse pulled dray, pack horse or simply by foot. This road is still in use in East Gippsland as a part of many four-wheel-drive touring routes.A large black / white photograph of two horse - drawn wagons on a narrow sandy bush track. It is surrounded by scrub. There is one man standing beside a horse not harnessed to a wagon.on front - "The Coast Road to Mallacoota from Orbost JPC"

Photo supplied by B. Heddle reproduced on p137 of The Diamond Valley Story by Dianne H. Edwards, Shire of Diamond Valley 1979. "Albert Jones, photographer. Born in 1879, Albert Jones owned the property Golden Glen at Wattle Glen. He was an orchardist and a very busy photographer, travelling over the Diamond Valley area recording everyday events, street scenes, and visiting homes to take family groups. With the help of Claude Burrows, cousin of Mrs Arthur Jones, he built hides from which to photograph local bird life. His hundreds of glass negatives lay forgotten in the basement darkroom until A,J. Spark of Balwyn purchased Golden Glen from Albert Jones's widow in the 1970s. His unclassified negatives are gradually being sorted by Mr Spark. All photos in this book from the Spark/Jones Collection are the work of Albert Jones."Black and white copy of photo printed on glossy photographic paper 30.5 x 40.5 cm (12 x 16 inch); image size approx. 18.5 x 28 cmalbert jones, diamond valley story, golden glen, photographer, wattle glen

Moira Bird Oliver (nee Good) daughter of Rev Good of St Jude's Carlton first met Frank Oliver circa 1915. They were engaged for some 7 years while Frank did wartime service and then on return to Melbourne completed a Theology degree at Trinity College and was then ordained. They married on the 18th of July 1925 at St Jude's Church in Carlton. Frank Oliver was then naval chaplain on the HMAS Platypus. After various postings the married couple eventually arrived and were appointed to the Chaplaincy to the Mission to Seamen based at 717 Flinders St from 1930-1960. The Olivers weathered many significant issues between 1930 and 1960, a depression, WW2, strikes and waterfront unrest in the 1950s and financial struggles resulting from changed shipping patterns. This photograph was gifted by a descendant who told us that Mrs Oliver was a very enthusiastic photographer. Mrs Oliver was a well loved and respected woman and is memorialised by a window in the Mission Chapel. It is possible she is one of the many anonymous photographers who contributed various photographs especially of the 1930s and forties that make up a substantial part of the Mission Heritage Collection. Mrs Oliver died in 1969 see elsewhere this database for memorial plaque and window.Mounted studio b & w photograph portrait of a bride in white dress and trainpadre oliver, reverend good, st. jude's church, reverend frank leslie oliver, moira bird good, moira oliver, hmas platypus, royal australian navy, r.a.n. chaplain