This milli-volt meter was manufactured after 1950 and used by the SEC Vic (Kiewa Hydro Electricity Scheme) from that date until late 1900's. It was used to measure very small voltages associated with the operation of the various Hydro Generators. The readings were able to be shown by the resistor in use in the current circuit. During this time period, high quality testing instruments were either sourced from Europe or England.This milli-volt meter is very significant to the Kiewa Valley as it was used by those electrical technicians, who were part of the Kiewa Hydro Scheme. An "off spin" from the Scheme was the beginning of an explosion in "human" resources into the Kiewa Valley. This influx of population transformed the region from that of a basically quiet rural region to one which evolved into both industrial and larger residential community. This evolution in the Kiewa Valley created a change, not only in the "physical" landscape(better roads and infrastructure), but also the socio-economic growth within the Valley allowing other "tourist" based industries to expand within the valley and Alpine areas.This millivolts DC meter was used in the 1950's. It is contained in a wooden box and has two coloured (red/black, positive and negative) screw tight knobs which have bake-lite connections. It also has a covered (black tin) view meter marked from zero to 10 millivolts. Underneath this and within a round bake-lite is a small adjustment screw. The top of the box is fastened onto the main structure by six brass screws. The back of the structure is fastened by eight brass screws and there are four small bake-lite rest knobs.On the face of the millivolt compartment , and at the top "TO BE USED WITH DIAL HORIZONTAL TEMP. COEF. +- .08 % PER oC. Underneath the scale "MILLIVOLTS D.C. F.G." (LEAD RESIS. .05 OHMS)" underneath and to the left "MADE IN ENGLAND BY" "EVERSHED & VIGNOLES Ltd" and to the right "No. 857842" underneath Regd. TRADE MARK MEGGERkiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth

This is a small pocket sized book covered with khaki coloured buckram. Printed on front cover is the phrase "New Testament" under that in the entre is a coat of arms - British - under that are two shields with a symbol in each. Under those shields is a banner with the words "City of Malvern". The back cover has written "Souvenir of Peace" - "City of Malvern" crest and "The Great War 1914 - 1918. There are 462 pages. The printing is in black ink.On last page are the morse code symbols for name Leila Smith. Inside the rear cover is the name Leila Smith.bible, ww!, city of malvern

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Victorian Heritage Database - Hotham Street Road Overbridge HO116 Heritage Overlay - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43557 (as of 04/07/2021) The Hotham Street road overbridge is located on the Sandringham railway line between Ripponlea and Elsternwick railway stations. It is presumed to have been built by contractors Sharp and Campbell who signed a contract on 25th . November, 1881 to construct a second line of railway between Windsor and Elsternwick. This contract was completed during 1882 and the bridge may have been designed in the year when Robert Watson took over from William Elsdon as engineer in chief for the Victorian railways. It is historically, aesthetically and technically significant. It is historically significant (Criterion A) to the extent that it demonstrates the standards of construction adopted by the Victorian Railways Department when it rebuilt the lines acquired from the private railway companies, (compare the Geelong and Melbourne Railway Co's line from Newport to Geelong, acquired in 1860). It is aesthetically significant (Criterion E) as an intact nineteenth century structure of its type, many similar girder bridges having been renewed with concrete girders in recent years. The bluestone abutments demonstrate high standards of stone masonry and are representative of Departmental work of the period. This bridge forms one of a group of historic structures on the railway to Brighton Beach and therefore contributes to the line's cultural importance as a whole. The survival of the riveted iron girders with their bellied angle iron struts is important since these elements are representative of the civil engineering practices of the Victorian Railways at the time and constitute the technical significance (Criterion F) of the structure.Page 96 of Photograph Album with three photographs (one portrait and two landscape) from Hotham Street - two external views of one house and a railway bridge.Handwritten: Hotham Street [top right] / 112 HOTHAM ST [under top left photo] / BRIDGE OVER SANDRINGHAM RAILWAY [under top right photo] / 112 HOTHAM ST CNR MELBY AVE [under bottom left photo] / 96 [bottom right]trevor hart, elsternwick, hotham street, caulfield, houses, brick, bay windows, verandahs, railway bridges, tunnels, gardens, bluestone, civil engineering, victorian railways, sharp and campbell, contractors

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 92 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - views of entrance and left front of mansion.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 245 Dec 1972 [under top left photo] / Neg 246 Dec 1972 [under bottom left photo] / Neg 247 Dec 1972 [under bottom right photo] / 92 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, lombardic, romanesque, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque style, rippon lea, entrances

Two articles regarding sign Language from the book Perspectives on British Sign Language and Deafness edited by B. Noll, J. Kyle and M. Deuchar - 1. The Role of Sign in the Structure of the Deaf Community by Lillian Lawson. 2, The Influence of British Sign Language Structures on Communication Teaching Techniques by Martin ColvilleOlive green, 29.5cmHx21cmW, 17 pagesbritish sign language, b.noll, j. kyle, m. deuchar, lillian lawson, martin colville

In a black frame is a coloured photograph of a Navy Helicopter being re-armed on HMAS Melbourne. Bottom left side under the photograph reads Voyages to Vietnam Collection. Bottom right hand side under the photograph reads Copyright Grant Jesserphotograph, hmas melbourne, voyages to vietnam collection, cerberus collection

photograph: 6 men seated, one standing at rear. Five men dressed in suits, two in military uniform. Appear to be standing inside hangar with plane engines, wing structures. Written on top above head of man standing ' Basil'aviation, military, men in hangar, basil watson collection

Black and white photograph of 6 head stamp battery. No other mining equipment/structures evident in image. man standing in front of battery. Possibly remnant from South New Moon Mine site, Eaglehawk. Written on back '1954'gold mines, mining equipment, south new moon mine site

Black and white Photograph of Soldier partially dressed holding a hanging plant. Civilians in in background "shopping" at a regional market. Umbrella in background. Person on raised structure. On reverse of photo Vung Tau 1966 Pvt Gerry Coret 5 RARon reverse of photo VUNG TAU 1966 Pvt Gerry Coret 5 RARphotograph, 5 rar, pte gerry coret

Lakes Entrance Grid reference, Cunninghame 8522.3.4 896.082, on ten acre site with trig point, it is from this point that all the survey for the surrounding areas was undertaken. Part of the Vic Geodetic Survey initiated in 1860 by Ellery Survey started from triangulation base in Werribee. (Grid ref B'dale 8422)Colour photograph of the Victoria Geodetic Survey Triangulation Station, Trig Station, situated off Ocean View Parade, Merrangbaur Hill. Location is indicated by ground point and standing structure, situated on an elevated bush block. Lakes Entrance Victoriahistoric buildings

Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide of a Geelong tram just outside the depot building structure - poor photograph. Tram in SEC livery, possibly photographed just before closure. tramways, trams, geelong, depot

The Bendigo Chamber of Commerce and Industry was constituted in 1886 with the vision to be the single voice for the business community across greater Bendigo. ‘Be.Bendigo’ is the trading name of the organisation ‘Bendigo Business Council’ which was formed in 2008 as a merger between two Bendigo business organisations: The Bendigo Chamber of Commerce and Central Victorian Business Network (CVBN). Upon the merger, Bendigo Business Council continued the functions of both the Chamber and CVBN by providing advocacy, networking and events to members and partners.Bendigo Chamber of Commerce letter from the Victorian State Chamber of commerce re re-structure. Dated 28 April 1989. Numerous printed pages outlining the plan of action for forming an independent Chamber of Commerce in Bendigo and developing a constitution.history, bendigo, bendigo chamber of commerce collection

Terracotta plaque depicting a discus thrower in front of an ancient structure. Titled ' Cou0pe Davis...France - Australie...3.4.5 Mai 1991 Arenes de Nimes'. Plaque is mounted onto an acrylic (perspex) stand. Materials: Ceramic, Acrylic, Woodtennis

Colour photograph. Ground floor facin north west in what was to be the cafe. Entrances into the tower connected to access corridors to former hospital towers. New structure for cafe roof seen with black tarp on top. Taken during restoration inspection.building construction, historic buildings

The cottage in the photograph was situated at 13 Evans Street in Sunbury and was one of the last houses to be demolished along the business of Evans Street between Brook and Macedon Streets. The cream brick building on the RHS of the house is a Telstra complex. The cottage was demolished in the early 2000s and a fast-food outlet now occupies the site. The cottage was one of a group of small attractive buildings erected along the northern end of Evans Street in the second half of the nineteenth century.A non-digital coloured photograph of a small double fronted Victorian cottage with a slate roof and a verandah across the front of the house. A cream brick structure with a signal tower is on the RHS of the photograph and a large bare elm tree is growing on the nature-strip. 13 evans street, victorian cottages, evans street, telstra

Wool painting a hobby for men - Long stitch embroidery/tapestry. Fred J Webber produced this painting when he was fourteen years old.Wool painting of bay steamer "Coogee" passing from right to left with full rigged ship in distance off her starboard bow. Frame has ornate border. Ship has black hull and funnel - structure faded red coogee wool painting ship

Sepia image of a group of miners sitting and standing in front of a wooden structure. Some of the men are holding candles, one man is holding a long rod. Image has been mounted on cream backing card with a blue border around the image.Text, mounting card: " Millist & Webb PHOTO., PITFIELD PLAINS. "pitfield, pitfield plains, mining, miners

The Decanter set was originally given to Dr John Paull by Dr Geoffrey Kaye and were later donated to the College by Paull . The decanter label, coaster and tray were crafted by Geoffrey Kaye and includes his initials inscribed into each piece. "LEY" Pewter refers to the pewter containing a large percentage of lead which in this case there is 80% tin and 20% lead.Glass decanter of cylindrical form with glass stopper and a pewter label which hangs over the decanter. The decanter sits on a ley pewter coaster which has three ball feet. Six crystal, sherry glasses sit on a ley pewter tray which has three ornamental feet. [Decanter] (03) / 500ml , [decanter label] SHERRY / G.K. 1972, [under decanter coaster] G.K. 1972. / "LEY" PEWTER, [under tray] G.K. 1972 / "LEY" PEWTERdr geoffrey kaye, dr john paull, ley pewter

Linocut print on paper. Printer's Proof.'P/P' in bottom left under printed section, 'MARKS OF A PRINTMAKER (BODY PARTS I) centred under printed area, signed along bottom right edge. linocut, line, cultural reference, pattern, hands, making

PrintTitled and edition 'Roading 14/25 305' lower left under printed image. Signed 'Kees Hos '61' lower right corner under printed image.

PrintTitled and edition 'Roading 3/25' lower left corner under printed image. Signed 'Kees Hos '60' lower right corner under printed image.

PrintTitled and edition '8/25 Karina' lower left corner under printed image. Signed and dated 'Kees Hos '61' lower right under printed image.

PrintTitled and edition 'Four Seasons 49/50' lower left under printed image. Signed and dated 'Kees Hos '62' lower right under printed image.

LithographTitled and signed 'Port piers - J Senbergs. '80.' lower right under printed image. Edition 17/20, lower right corner under printed image.

LithographTitled and signed 'Port Panorama - J. Senbergs. '80.' lower right under printed image. Edition 19/20, lower right corner under printed image.