Cutting from an unknown newspaper, c1964, titled "Keeping Track of the trams", about the possibility of new trams. Notes how many trams are in service, and how old the newest tram is 8 years old and some notes on new trams, costs and types of trams and current practice. On the rear of the cutting is a report that the Minister for Local Government Mr. Rupert Hamer had received the revised King St bridge collapse in 1962. Mr. Hamer commenced as the Minister in 1963 (Parliament web site access 18-11-2016)trams, tramways, king st, new trams, mmtb, history

Folded A2 sheet to A4 size, full colour, printed both sides, titled "Met Plan" dated September 1988, detailing planning for Melbourne Public Transport, known as "MetPlan", prepared by The Met. Shows the various proposals for railway upgrades, tram extensions, details the purpose, the Task, Vision, Patronage, Resources, system improvements. Has details of projects proposed for the Western, Northern, Eastern and South Regions. On the inside has a large map of Melbourne showing the various projects. 2nd copy added 23-10-2016trams, tramways, melbourne, traffic control, transportation, met, planning, public transport, metplan, tramway proposals, railways

Photocopy onto an A4 sheet, two sheets, stapled in top left hand corner, titled "Location of cars at end of 28 Day Period 26-3-27", listing the class of trams allocated or allocation to each depot in Melbourne, including trams at Preston workshops, bodies under construction, W, X and Y class cars. Includes Coburg, Preston and Footscray. Shows depot allocation. Not known when copy made. 2nd copy added 14-5-2016 from the estate of Charles Craig.trams, tramways, preston workshops, lists, tramcars, lists, depots, depot allocation

This clock was originally in the front Office of the Soldiers Memorial Institute Bendigo on the mantlepiece of the fireplace. Original donor or date of being placed is unknown. It was last used in 2005 by Jack Barnes OAM who wound it every day he was in the Office, he was Secretary for 43 years of the BRSL. After the renovations to the SMI in 2016 - 18 it was placed on the mantlepiece of the fireplace in what is now called "The Building and RSL History Room"Mantle Piece Clock, timber frame, hinged glass cover over the face is missing, numbers are 1 - 12 on clock face, rear door to the mechanism, a pendulum weight is taped to the inside, no wind up key.On Clock face, "Gilbert". Around clock face, "Made in Winsted Conn United States of America"brsl, smirsl, mantle

Dress owned by Catherine Ann Windsor (Kitty) (born 23 Nov 1919 died 17 Nov 2002) in the 1930s/1940s. She was grandmother of Rachael Cottle, Whitehorse Historical Society Secretary (2011-2016). Catherine was the gate-keeper at the Tunstall (Nunawading) railway gates at Springvale Road during 1934-1952. A house was supplied for the gatekeeper. The gates were closed to traffic from midnight to 5 am.Dress with elastic shirring top and frilled neckline with puff sleeves. Rayon material. Coloured orange, green, grey and white.tunstall (nunawading) railway station, windsor, catherine ann (kitty), cottle, rachael, dress, victorian railways

Used to record the start/finish times and days of work by its employees. A card with a unique employee identifier was inserted in the machine by the employee at the start and end of a shirt and the information was sent to the human resources/pay section to allow the updating of staff records and pays. This example was in in use at the Victorian Civil Ambulance Service from at leats the early 1960s (source Chas Martin AHSV curator 17 October 2016).Grey metal box. Clock face set in centre and slit in bottom. Cut power cord at back.Clock on and off

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Eltham Gateway, 860 Main Road, Eltham Situated on a large block of approximately 1,442 sq metres, it was last sold for $1.4 million 30 Oct. 2016. The premises had been left in an abandoned state for some time and on the evening of 6 July 2021 it was attended by the CFA and 8 emergency vehicles due to a fire. Breathing apparatus was required due to hazardous smoke conditions. The building was reportedly demolished by August 2021.Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway

Eltham Gateway, 860 Main Road, Eltham Situated on a large block of approximately 1,442 sq metres, it was last sold for $1.4 million 30 Oct. 2016. The premises had been left in an abandoned state for some time and on the evening of 6 July 2021 it was attended by the CFA and 8 emergency vehicles due to a fire. Breathing apparatus was required due to hazardous smoke conditions. The building was reportedly demolished by August 2021.Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway

Item purchased on eBay 2016. Belonged to Terry Pepperell (dec 2013), an avid school badge collector and an expert in school memorabilia. This pendant was possibly designed by Terry. Terry was a past President of the Numismatic Association of Victoria and a medal designer in his own right. His significant private collection of school memorabilia was auctioned after his death. This piece was purchased by James McLachlan-Troup and sold to the school via eBay. No particular significance to the school apart from its creative use of school memorabilia. Small enamel Ballarat College crest on a Stokes pendant backing with linkterry-pepperell

The photograph shows a ship visit. It is historically significant and thought to be one of a series of photographs linked to a publicity campaign circa 1955-1956 promoting the work of the Mission. The campaign partly inspired by the Centenary year of the Mission in Australia (1956) also resulted in the production of a black and white short film "The Flying Angel", featuring and Padre Oliver and the work of the Mission was deposited in 2016 with the Australian Centre for the Moving Image, (ACMI) Federation Square, Melbourne.Padre Frank Oliver, Chaplain to the Mission to Seafarers 1930 - 1960 led the Mission through a period of significant changes through the mid 20th C. This image is one of a series of key images showing the work of the Mission Chaplain in the Post WWII period. Father Frank Oliver wearing uniform including officers cap walking up a gangway and being met by a group of four men. There is a fifth man standing slightly to the left of the photograph.Discolouration on the bottom left and top centre of the photograph.uniform, machinery, ship, crew, gangway, deck, handshake, chains, rope, buoy, pulleys, rivets, padre oliver, frank leslie oliver, mission to seafarers, mission to seamen, seamen's mission, robin kent, kerr bros studio

This is a photograph of the Birchip Rifle Club taken at Birchip on 18th September, 1915. Most names are on the back of photo. Given to the Birchip Historical Society by Mary Fielding in 2016. Names..Harold Bolden, P Matthews, C.Sheean, a.Wilson, Frank millar, F.O'Donnell, Andy Fraser, M.O'Donnell, J.O'Donnell, J.R.McLeish, B.H.Warne,C.Bull, J.Hillgrove.W.H.Watts,W.Clover, E.Sanders,J.Busteed, F.White, Jas Coffey, S.CarlisleN.McDoual, J.Lockwood, P.Williams, H.S.Mitchell, J.M.Kensley, R.C. HannahThis is a photo of the Birchip Rifle Club taken after at an event at Birchip. Photo of rifle club mounted on cardBirchip Rifle Club 18th September 1915. All names on back.birchip rifle club, photograph, birchip, 1915 photo

Used to sterilise ambulances after carry patients to the former Fairfield Infectious Diseases Hospital. A mixture of water and disinfectant was heated and blown through the ambulance for a minimum of 10 minutes after an infectious patient was moved. Equipment was held at either the Fairfield ambulance station or at the Fairfield Infectious Diseases Hospital. Units were in use from at least 1962 through to the 1980s. Source Chas Martin curator AHSV 29 April 2016Aluminium electrical unit with swivel top portion CHALLENGER FOGMASTER TRI-JETinfectious diseases

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

This pair of spectacles was prescribed and made in Warrnambool by brothers Fred and Geoff Bennet from about 1946 when they established their optometrist business at 192 Liebig Street Warrnambool. The business moved to 152 Liebig Street in 1988, by which time it had already changed hands to become McMahon and Owen Optometrists. Jayson Ward and Mathew Bucks purchased the business in 2012, then changed the name to Warrnambool Eyecare in 2016. They also own and practice at Portland Eyecare.This pair of glasses is significant as an example of locally owned and manufacture red eyewear from the mid 290th century. Spectacles, Pince-nez with oval shaped tinted lenses, metal bridge and rubber nose pads. Hard surfaced blue velvet lined spectacle case. Inscription on case. Made by F.G. & P..G. Bennett in Warrnambool."F.G. & P.G. Bennett Warrnambool"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pince-nez, glasses, eyewear, seeing aids, vision, optician, f.g. & p.g. bennett warrnambool, eye care, magnifiers, reading glasses, fred and geoff bennett, personal effects

This photograph is significant because it shows one of the tasks involved with the restoration of the P.S. Pevensey which took place in 1974/75. Kevin Hutchinson had come to Echuca from Mildura when the City of Echuca bought the Pevensey. He was responsible for the task of restoring the paddle steamer. He continued to work at the Port of Echuca until his death in 2016. In 1990 he received an Order of Australia medal for his contribution to the Port of Echuca.This photograph is historically significant because the P.S Pevensey had come from Mildura to Echuca in the early 1970's to help develop Echuca's tourism industry. Kevin Hutchinson moved to Echuca with the paddle steamer , and was involved in the restoration. Kevin continued to work at the Port of Echuca until his death in 2016. He was also awarded an Order of Australia medal in 1990 for his work at the Port of Echuca.A black and white rectangular photograph of the new stem post being fitted to the P.S Pevensey, whilst resting on the Moama slipway. The stem post was only one task in the complete restoration of the P.S Pevensey which happened in September 1975. There is a piece of chain attached to a crane at the top of the stem post. On the side of the Pevensey is a plaque with many lines of writing on it. The heading on the plaque says P.S. Pevensey.On the front of the photograph can be seen a plaque with the heading P.S Pevensey. The plaque is covered with writing which cannot be read. On the back of the photograph, in black ink is written the following words, ' Pevensey restoration 1974/75. New stem post being fitted.'stem post restoration, p.s pevensey restoration, p.s pevensey, hutchinson, kevin.

In 2013, Gary Partington generously donated farm implements to Greensborough Historical Society. These implements had been used at the family property "Willis Vale" up to the 1960s. Members of the Partington family farmed the area from the 1840s. In this photo, Elinor, Gary and Faye stand behind the plaque that explained the provenance of the displayed implements. Unfortunately, one of these items was stolen in December 2016. More photos of this event can be found at the GHS Resource Centre.Digital copy of colour photograph.greensborough historical society, partington family

Display board was once property of Port Macquarie Historical Society & Museum, but they de-accessioned it in 2016 before donating it to the National Wool Museum. Reason for de-accession was that it no longer fit with their collection aims, nor was it relevant to their location. Item appears to have been made in 1963, or at least using wool samples from 1963. Wool samples were grown by a S.F. PICKER at 'BIGGA' in New South Wales. No further information was given by donor.Light brown timber framed display board with glass cover. Light brown backing board with 25 wool samples taped to the board, each with a paper lable with printed text. Main label reads -WORLD RECORD PRICE / 1963...468d / SUPER FINE MERINO. / COUNT. 74/80. / GROWN BY. / S.F. PICKER. BIGGA. / N.S.W.-wool samples, wool sorting, wool breading

5NBH - Excursion Car Replica body built by Puffing Billy Preservation Society, Emerald – 1975. Puffing Billy Service History or Notes : Oct 2009 - In for repairs and a lift. Oct 2016 - In for repairs and repaint. Nov 2016 - Repainted NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. Historic - Puffing Billy Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car 5 NBH -Passenger Carriage - Excursion Car made of wrought iron and timber5NBHpuffing billy, 5nbh, 5nbh - excursion car

953.1 - photo of tram 32 being lifted and a low loader being positioned under the tram. Appeared on page 1 of Courier. Caption notes as the last tram to be given away and Mr. Bob Davies directing the move and that he has assisted in many of the moves so far. 953.2 - continuation of page 1 item on page 2 - about tram 32 being give to the Maryborough Chamber of Commerce. Mentions trams in the care of the BTPS, Lake Goldsmith and other organisations. Quotes SEC Administrative Officer Mr Norm Pearson. 953.3 - as for .1 and .2, but entire front page from The Courier. Additional copies of 953.1 and 953.2 added 30/05/06 ex Leslie Dawson. 953.4 - Black and white Courier photograph print of the photograph of No. 32 being lifted. 953.5 - Black and white Courier photograph print of No. 32 being lifted off the truck with No. 30 in the background .4 and .5 - Print of original photographs added 14-3-2016 from the donation to the Museum by Karelyn Satter Feb. 2016. Stored in box 01-01-84Yields information about the storage of trams at the Ballarat North Power Station following closure of the SEC operated tram system, period to delivery of the tram to its next owner. Has a strong association with the crane company of the time.Newspaper clippings from The Courier, dated 17/3/1973dates in blue ink of "17/3/73" near top right hand corner of both cuttings., Prints have the stamp of the Ballarat Courier on the rear.trams, tramways, maryborough, tram disposal, secv, tram 32

3 tobacco tins, hinged lids. A. Yellow tin, 'Log Cabin' on front, yellow print on red scroll, K55 written in white on back ; b. Red tin ' Town Talk' written in white K 52 on back, ; white tin, 'Golden Pride' printed in gold on aqua scroll, K 56 on back, valued at $650 by Alexanders ( Alexanders, Melbourne: Golden Pride Tobacco Tin 2oz. PRINTS. Prints. Photo Gifts … Image 13 of 15. Back to Site. $650 Aug 2010 sourced 16/2/2016)personal effects, smoking accessories, toabcco tins (3)

List of the depot allocation of Melbourne trams (MMTB) as at 1/1/1972, published early 1972 by the BTPS as a members service. Printed by typed wax stencil then duplicated, on both sides of a green sheet of foolscap paper. Gives the depot, tram numbers, summary of trams at each depot by class and total number, and those in storage and used for training. Also gives a summary of each class of tram and a total number on register (696), and abbreviations used for depots. Image of document and second copy from donation of the Tom Murray Estate added 20-11-2016.mmtb, depot allocation, tramcars, melbourne

Worn piece of old trolley wire (330mm long) of 89mm2 (?) cad copper wire. Taken from an old wire joiner within depot to be used as a sample of worn wire for use in ceremony of new trolley wire hand over on 26/11/96, when Victorian Minister of Transport, Alan Brown handed over new Trolley wire (2km) to Museum. Not known where made - could be either UK or Australia. Images added 3-12-2016 See The Courier, p6, 27/11/1996, see Reg. Item No. 503.trolley wire, btm

BTPS Tram Drivers Certificate printed on fawn stippled paper with brown ink printing and BTPS Tram loco on left BTM corner. Stamped No. 1 and dated as issued to Driver Gavin Young on 22/12/74. Signed by R.Gilbert Traffic Manager. These certificates were printed in the mid 1980's and backdated to when the driver's passed their exams. On the reverse side there is no printing and it is a white sheet of paper. Note: Used for driver's certificates until the BTPS was renamed to the BTM, then a new type issued. Image of item added 27-11-2016tramways, trams, btps, driver's certificate, g.young

Four page printed document or report titled "50 Years Ago" written for BTM magazine Fares Please!, in April 2004. Should be "60 Years Ago". The document or report written by Alan Bradley looks at the 1954 Royal Tour, accidents in 1954, featuring No. 37 and 24 when it ran into the Bucks Head Hotel. Mentions in article, Frank Callahan, Dave Kellett, Les Edwards, Hodgson, Herb Knight. Four sheets of A4 paper stapled in top left hand corner. Images added 28/11/2016.trams, tramways, ballarat, royal visit, accidents, bucks head hotel

Christopher Joseph Sarovich married Susannah Botley. There are a number of spellings of his surname. He was involved in trade along the Murray River and they met at this time. They moved to Melbourne and the Sarovich family had a furrier family business in Port Melbourne, but resided in Surrey Hills. They owned a number of houses along Whitehorse Road, including the site of the Balwyn Community Centre. The last remaining property in family hands was sold to the Camberwell Council by Mrs Margaret (Peg) Grossman, nee Sarovich. Peg was a member of the Surrey Hills Historical Society.Vertical file of information related to members and descendants of the Sarovich (Sharowich) family: 1. Certificate of marriage of C.J. Sharowitch and Susannah Botley 11.2.1882 (1 page). NB/ Spelling as per marriage certificate. 2. Notes on Louisa Smith by June Peka 21.11.2016 (2 pages); photos of family and staff in Australia and N.Z., no dates (7 pages) and emails between June Peka and Sue Barnett 11/2016 (2 pages). 3. Margaret Grossman funeral service 28.4.2014 at St. Barnabas Anglican church, Balwyn. NB/ Margaret nee Sarovich (miss) susannah botley, (mr) christopher joseph sharowich, (mr) christopher joseph sarovich, (mrs) susannah sarovich, (miss) alice botley, (mr) john nicholls, (miss) louisa botley, (mrs) louisa smith, (mr) james smith, (miss) margaret sarovich, (mrs) margaret grossman

Printed colour posters - one each of A2 and A3 size, titled "A history of Melbourne Trams", featuring a cable car set, trams V214, HTT 8, W1 380, X2 676, Y613, W5 758, SW6 909, Z 166, A 241, B1 2001, C3005 and D 5001, with year and class and a short description and history. Has the Yarra Trams logo in the bottom right hand corner. 2nd A3 sized copy added 21/04/2017 from David Frost items received late 2016.trams, tramways, posters, melbourne, mmtb, yarra trams, tram 214, tram 8, tram 380, tram 676, tram 613, tram 758, tram 909, tram 166, tram 241, tram 2001, tram 3005, tram 5001

Set of 17 "The Connies" performance group - Collectable cards with various images on the cards related to Melbourne tram events, people and relationship with Calcutta trams and in particular Roberto D'Andrea. Set of four images, i2 is the reverse of i1, i4, reverse of i3. additional card "tracking the Journey" added 5-8-2016 and additional copies of other cards as well from donation of Kevin Tierney November. 2010. additional card "Tom's Tram" - a Fitzroy farm dog, added 27-8-16 - found in the depot front office.trams, tramways, tickets, the connies, collectables