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Eltham District Historical Society Inc
Document - Folder, Mitchell, Jenni
Jenni Mitchell, daughter of Grace and Arthur Mitchell, is a painter. Contents Newspaper article: "Back to the drawing board", Diamond Valley News, 19 May 1981. Jenni Mitchell's early life. Newspaper article: "Jenni captures the cast and rugged desert", Diamond Valley News, 13 March 1984. Jenni Mitchell's exhibition of Wimmera paintings, 16-25 March 1984. Exhibition list: Jenni Mitchell studio exhibition, ?1984 ?1986. Newspaper article: "Jenni mingles with greats of art world", Diamond Valle News, 29 July 1986. Jenni Mitchell exhibitor in Melbourne Spoleto Festival exhibition, Ross House Gallery, Kew. Newspaper article: "Poet, painter a formidable duo", Diamond Valley News, 28 October 1986. A poem from Cornelis Vieeskens's book and story of connection to Grace Mitchell's art works. Newspaper article: "Eltham artist to stage her 20th solo exhibition", Diamond Valley News, 31 May 1995. Jenni Mitchell's "Survey Exhibition 1975-1995", at Dempsters Fine Art Gallery, Canterbury, opened by poet Judith Rodriguez on 2 June 1995 . Election flier: Jenni Mitchell, candidate for Eltham Council, 1989. Newspaper article: "Aiming to keep history alive", Diamond Valley News, 22 August 1989. Newly elected Eltham Councillor Jenni Mitchell's objectives. Newspaper article: "Poetry in paint", Diamond Valley News, 23 November 1992. Jenni Mitchell's exhibition of Australian contemporary writers at the National Poetry Festival at Montsalvat, December 1992. Newspaper article: "Eltham artist to stage her 20th solo exhibition", Diamond Valley News, 31 May 1995. Jenni Mitchell's exhibition, "Survey Exhibition 1995-1985" at Dempsters Fine Art Gallery, Canterbury, opened 2 June 1995. Newspaper article :Keen to get focus on art again", Diamond Valley News, 6 November 1996. Jenni Mitchell exhibiting in Nillumbik Festival's Artists Open Studios program 1996. Newspaper article: "Rocky mountain high", ?1997. Jenni Mitchell's exhibition of Flinders Ranges work in Mains Restaurant, Eltham ?1997. Newspaper article: "Inspired works", ?1999. Jenni Mitchell's exhibition of works from artist-in-residence at Bundanon and Riversdale, Adam Galleries, Melbourne until 8 September ?1999. Newspaper article: "Gone bush, in search of the still place", The Age, 2 May 2000. Jenni Mitchell's exhibition Portraits of Extraordinary People, Queens Hall, Parliament House until 12 May 2000. Booklet: "Sharing a History, an essay by JHenni Mitchell", produced in association with exhibition Captured at the Eltham Library Community Gallery, 22 February to 3 March 2002 Flier: "Artists Open Studio 2001-2002. Exhibition of artists participating in the Nillumbik Artists Open Studio Program at Eltham Wiregrass Gallery, 21 February to 7 March 2002. Newspaper article: "Not just white in sight", Diamond Valley Leader 3 September 2003. Jenni Mitchell's exhibition "To the Ice, Images from the Antarctic at Montsalvat until 7 October 2003. Newspaper article: "Works are poetry on canvas", Diamond Valley News, 2003. Jenni Mitchell's exhibition 'Desert, Ice and Poetry, at Montsalvat until 12 December 2003. Newspaper article: "In love with a world of ice", Herald Sun, 25 October 2003. Jenni Mitchell's exhibition 'Desert, Ice and Poetry, at Montsalvat until 12 December 2003. Newspaper article: "Display honours artist, wife", Diamond Valley Leader 28 July 2004. Jenni Mitchell had been student of Alan Martin, retrospective exhibition of Martin's work at Eltham Community Centre 31 July to 1 August 2004. Newspaper article: "Portrait due get to the heart of the matter", Diamond Valley Leader, 13 April 2005. Jenni Mitchell painted double portrait of Colin Royse and Allstair Royse for Archibald Prize. Newspaper article: "Brothers impress artist", Diamond Valley Voice 13 April 2005. Jenni Mitchell painted double portrait of Colin Royse and Allstair Royse for Archibald Prize. Newspaper article: "Poles apart but online", Diamond Valley Leader 2005. Jenni Mitchell's journey to the North Pole will have a website set up by Hugh Stubley and Stephen Pearce, Tribity Digital Solutions. Newspaper article: "Going to extremes for ideas", Diamond Valley Leader, 1 June 2005. Jenni Mitchell's exhibition "Images of the Antarctic" at Dickerson Gallery 7 June to 3 July 2005. Newspaper article: "Works are poetry on canvas", Diamond Valley News, ~2005. Jenni Mitchell's exhibition "Desert, Ice and Poetry" at Montsalvat until 12 December 2005. Newspaper article: "Places for painting", Diamond Valley Leader, 2 November 2005. Jenni Mitchell organising plein air painting workshops around Eltham for students. Newspaper article: "Spirit of past inspires artist", Diamond Valley Leader, 1 November 2006. Jenni Mitchell and Mervyn Hannan have opened a studio at Montsalvat, appealing for more volunteers. Newspaper article: "Art in Action", Heidelberg and Valley Weekly, 31 October 2006. Jenni Mitchell and Mervyn Hannan's Working Studio Gallery at Montsalvat. Newspaper article: "Honey lures art taste to sport", Diamond Valley Leader 11 July 2007. Jenni Mitchell's portrait of Gary Honey entered for Basil Sellers Art Prize., on show at Gateway Galleries Eltham as part of her Extra-Ordinary People series. Newspaper article: "Celebrate history and her story", Diamond Valley Leader, 20 February 2008. Jenni Mitchell and Grace Mitchell already nominated for a Nillumbik Women's Network publication. Newspaper article: "Aura of northern lights draws Eltham artist", Diamond Valley Leader, 13 January 2010. NewspaperJenni Mitchel will travel o a Norwegian cruise ship for six weeks. Newspaper article: "Brush with fame", Banyule and Nillumbik Weekly, 28 September 2010. Jenni Mitchell's house and studio, and her exhibition "From the Edge" at Montsalvat until 30 September 2010. Talk flier: "A visual presentation and floor talk" by Jenni Mitchell for her exhibition "From the Edge" 16 September 2010. Exhibtion flier: "From the Edge" exhibition of painting and photography by Jenni Mitchell, Montsalvat 3-30 September 2010. Newspaper article: "Home is where the art is", Diamond Valley Leader, 16 November 2011. Jenni Mitchell's early life with Grace Mitchell, and exhibition as part of Artists Open Studios. Newspaper article: "Artists visit Mongolia", Diamond Valley Leader, 25 April 2012. Jenni Mitchell and Mervyn Hannan will spend seven weeks in Mongolia, exhibiting at the National Museum of Mongolia. Flier: Open Studio, Jenni Mitchell, Mervyn Hannan, Grace Mitchell, 5-6 May 2012. Newspaper article: "Shared love fires artists", Diamond Valley Leader, 4 July 2012. Exhibition of works by Mongolian artist Tugsoyun Sodnom, Jenni Mitchell and Mervyn Hannan at Montsalvat. Newspaper article: "Tribute to an art legend", Diamond Valley Leader, 26 September 2012. Exhibition "Grace Mitchell" A selected Retrospective" to open at South Fine Art Studios and Gallery on 7 October 2012. Newsletter article: "Jenni Mitchell - My mother Grace", Eltham District Historical Society No.207 November 2012. Exhibition notes: "The Retro Eltham Show", Eltham South Fine Art Studios and Gallery, 14 April to 9 June 2013. Newspaper article: "Jenni salutes Mongolia", Diamond Valley Leader, 12 November 2013. Jenni Mitchell's exhibition "Two Mongolian Journeys" at Eltham South Fine Art Gallery until 24 December 2013. Flier: Eltham South Fine Art Studios and Gallery, 6 Mount Pleasant Road, undated. Newspaper article: "Moving on is not without a shockwave", Diamond Valley Leader, 26 October 2016. Jenni Mitchell and Mervyn Hannan are moving to Hamilton, selling their Mt Pleasant Road property and gallery Newspaper article: "Great Grampians, It's Jenni Mitchell and Mervyn Hannan!", Jenni Mitchell and Mervyn Hannan's exhibtion at Streamline Publishing's Gallery, opened by Vicki Ward, 7-28 September 2022.Newspaper clippings, A4 photocopies, etcjenni mitchell, grace mitchell, cornelis vieeskens, dempsters fine art gallery, judith rodriguez, montsalvat eltham, professor a d hope, judith wright, geoffrey eggleston, shelton lea, montsalvat poetry festival, artists open studios, mervyn hannan, south fine art studios and gallery, jennifer mitchell, ken taylor, nic taylor, ross house gallery kew, melbourne spoleto festival, brian pearce, robert wilson, bundanon, adam galleries, eltham wiregrass gallery, alan martin, eltham community gallery, eltham cemetery, cemeteries and crematoria bill, isla heddle, st katherin's anglican church at st helena, nillumbik cemetery trust, michael dobson, tpmy raimoc, belinda clarkson, friends of nillumbik, catherine dale, allstair royse, archibald prize, dickerson galley, hugh stubley, stephen pearce, trinity digital solutions, gateway galleries eltham, gary honey, basil sellers art prize, nillumbik women's network, warwick leeson, national museum of mongolia, tugsoyun sodnom, michelle morgan, zanzy community choir, eltham south fine art gallery, streamline publishing's gallery, vicki ward, sonia skipper, joe hannan, robert marshall, hamilton regional gallery, petschel house hamilton, colin rouse -
Orbost & District Historical Society
poem, Mallacoota
The poem, "Mallacoota", as in this copy, does not appear to be noted in any of the lists of poems attributed to Henry Lawson. NOTE: Information provided by David Williams on 13/12/2021 is that "this poem in your collection is by Edward Harrington (indeed not Lawson)". Edward P Harrington (1895-1966) was born in Shepparton, served in Palestine in W W I with the 4th Light Horse Regiment, tried farming, but his lifelong passion was for story-telling through poetry. He is described as the 'last bush balladist' in Australia, and was a close friend of E J Brady and John Shaw Neilson. It was likely that he came to Mallacoota as a guest of E J Brady who had a camp for writers and poets there. He produced 5 collections of verse: Songs of War and Peace; Boundary Bend and Other Ballads; My Old Black Billy and other Songs of the Australian Outback; The Kerrigan Boys and other Australian Verses; and Swagless Swaggie and Other Ballads.His "Mallacoota" poem is printed in the Swagless Swaggie collection (1957). https://adb.anu.edu.au/biography/harrington-edward-philip-10431 Poetry associated with a place in East Gippsland. A copy of a printed poem titled "Mallacoota" with unknown author. It is pasted onto a cardboard backing. Although attributed to Henry Lawson in this printed copy, information is that it is by Edward Harrington.poem - edward harrington - bush balladist - mallacoota -
Warrnambool and District Historical Society Inc.
Document (Sketch Plan of Dunmore), Stan Baulch, 1972
This card has a sketch map showing the properties surrounding Dunmore on one side and a detailed sketch plan of Dunmore homestead in the early 1970s on the other side. The plan of Dunmore homestead shows interesting features such as the brick oven for bread making, the croquet lawn, the site of the aboriginal mia mias, the Turkish baths and the fowl house used later as a poison house. Francis and Ann Baulch were pioneer settlers in the Kirkstall area and their son Samuel worked at Dunmore in the Macarthur area before purchasing in the early 1870s the property he named Rose Park. In the 1890s he acquired property in the Dunmore estate and his son Stan Baulch gained a section of the Dunmore property after his father’s death. Stan Baulch named this Dunmore section, Rose Park, a property to the west of his father’s original Rose Park property. Stan Baulch was a long time member of the Warrnambool & District Historical Society and he contributed many local history articles and donated many local artefacts to the Society.This sketch plan is of interest as it tells us what the historic homestead of Dunmore in Western Victoria was like in the early 1970s. It will be useful for research. This is a sheet of white lightweight cardboard with a pencilled sketch on one side and a blue ink sketch plan of a house on the other side. The edges of the card have some torn sections. The card is enclosed in an oval cardboard cylinder (recycled and torn at the ends). Both the card and the cover have handwritten titles in ink. Dunmore Homestead & History by S. Baulch Dunmore Homestead drawn by Stan Baulch c.1972 dunmore property, western victoria, baulch family -
Federation University Historical Collection
Photograph - Colour, Keith Hamilton
Keith Hamilton attended Ballarat Teachers' College, a predecessor institution of the University of Ballarat, graduating in 1955. He sat on the Ballarat Teachers' College Library Group Committee, the Sports Committee and won awards for football and athletics in 1955.(http://en.wikipedia.org/wiki/Keith_Hamilton_(politician, Accessed 13 November 2013) He was Senior Lecturer in Physics at the Gippsland Institute of Advanced Education from 1968 to 1988. Keith Graeme Hamilton was born on 09 May 1936 in Ballarat, Victoria. He is the former Australian Labor Party member for Morwell in the Victorian Legislative Assembly. Hamilton served as the Member for Morwell from October 1988 until being succeeded by fellow Australian Labor Party member Brendan Jenkins, in November 2002. Hamilton served in the Bracks Government's first term as Minister for Agriculture and Minister for Aboriginal Affairs. (http://en.wikipedia.org/wiki/Keith_Hamilton_(politician, Accessed 13 November 2013)Hon. Keith Hamilton presents an award to Rosette Arnold (student)ballarat teachers' college, hamilton, keith hamilton, morwell, gippsland, gippsland campus, rosette arnold -
Federation University Art Collection
Ceramic - Ceramic - Stoneware, Pilven, Peter, Autumn Vessel, 1998
Peter PILVEN (1956- ) Born Ballarat Peter Pilven is acknowledged by his peers for his high level of tacit skills, including throwing, and for his sound technical knowledge of materials.Training with John Gilbert's Edinborough Pottery from 1972-1975, Pilven trained with Joan Campbell in Fremantle in 1976. In 1977 Peter Pilven obtained a Diploma of Fine Art (Ceramics) from Ballarat College of Advanced Education (now Federation University). The following year he worked with Ian Dowling at Geraldton, WA, and with the Western Australian Aboriginal Education Unit in 1979. He next trained with Alan Cagier-Smith in England between 1980 and 1981. Peter Pilven established his own studio in 1982. He has been teaching ceramics at Federation University since 1983, and is considered by his students, to be a living treasure. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, ceramics, peter pilven, pilven, stoneware, wheelthrown, madeinballarat -
Disability Sport & Recreation Victoria
ID card, Kevin Coombs photo ID, 1980 Paraympic Games in Arnhem, The Netherlands, 1980
Kevin Coombs, OAM (born 30 May 1941) is an Australian wheelchair basketballer and athlete who competed at five Paralympics including the first Paralympic Games in 1960. He was the first Australian Aboriginal Paralympic competitor for Australia. Coombs was part of the Australia men's national wheelchair basketball team at the 1960 Rome, 1968 Tel Aviv, 1972 Heidelberg, 1980 Arnhem and 1984 New York/Stoke Mandeville Paralympics. He served as coach/captain at the 1972 games and as captain at the 1984 games. He also participated in athletics events at the 1968 and 1972 Paralympics. He captained the silver-medal-winning Australian wheelchair basketball team at the 1974 Commonwealth Paraplegic Games in Dunedin, led the Australian team in gold medal performances at the 1977 and 1982 FESPIC Games, captained the team at the 1977 Silver Jubilee Games, and played in the 1983 Wheelchair Basketball World Championship.[10][11] The 1980 Summer Paralympics were held in Arhmen, in The Netherlands, the sixth edition of the event.Plastic card, containing orange cardboard ID card, with photo inset.Front: Logos of 1980 Paralympics and Paralympic mascots (in Dutch) Olympische Spelen voor Gehandicapten 21 juni-5-juli Reverse: very degraded portrait photo of Kevin Coombs Nation - AUSTRALIA Name:- Coumbs Classification - 4 Startnr - 0087 Points 2 -
Bendigo Historical Society Inc.
Book - ALEC H CHISHOLM COLLECTION: BOOK ''THE COLLECTED POEMS OF JOHN MASEFIELD''
Book. ALEC H CHISHOLM COLLECTION. 784 page blue hardcover book of poetry by Poet Laureate, John Masefield. Published in 1923 by William Heinemann, London. Printed by Morrison & Gibb Ltd, Edinburgh. Two newspaper cuttings from the Melbourne Herald inside front cover. 13 May 1967 - Reporting the death of J. Masefield aged 88. 20 May 1967 - Brief article on Masefield. Catalogue sticker '2117 MAS on spine. Signature of John Masefield written in ink on flyleaf. Also handwritten in ink inside front cover ''This book was among those present when Austn (Australian) authors entertained John Masefield at Scott's Hotel, Melbne (Melbourne) on Fri., Nov.9, 1934. Masefield signed the book on the first page & some of the local lads & lasses signed on the next page. A. H. Chisholm 10/11/34'' Signatures of the following authors on the second page 'Vance Palmer, Louis Esson, Katherine Susannah Prichard, Bernard Cronin, Bernard O'Dowd, Shaw Neilson, Myra Morris, Georgia Rivers, Alec H Chisholm 9-11-34'John Masefieldbooks, collections, poetry, alec h chisholm collection, john masefield, vance palmer, louis esson, katherine susannah prichard, bernard cronin, bernard o'dowd, shaw neilson, myra morris, georgia rivers, poetry -
Stawell Historical Society Inc
Booklet, Education Department, Australian Copy book
Books used in teaching writing0682-6: Fawn cardboard cover, with complex border artwork. 0682-7: Blue cardboard cover, with complex border artwork. 0682-8: Pink cardboard cover, with complex border artwork. 0682-6: S. Australia. Victoria. N.S. Wales. Queensland. Australian Copy Book Third Class. Medium Hand. Proverbs. Geographical Definitions. Arithmetic. No. 3 Price 2d. W. Australia Tasmania. New Zealand. Melbourne: Published for the Education Department by J. Kemp. Government Printer. 0682-7: Christina (Handwritten) S. Australia. Victoria. N.S. Wales. Queensland. Australian Copy Book Fourth Class. Small Hand. Proverbs. Geography. Commercial Terms. No.4 Price 2d. W. Australia Tasmania. New Zealand. Melbourne: Published for the Education Department by J. Kemp. Government Printer. 0682-8: Angus Cumming (Handwritten) S. Australia. Victoria. N.S. Wales. Queensland. Australian Copy Book Fifth and Sixth Class. Quotations, Poetry & Prose. Commercial. Letters & Forms. No.5 Price 2d. W. Australia Tasmania. New Zealand. Melbourne: Published for the Education Department by J. Kemp. Government Printer.stawell education -
Federation University Historical Collection
Magazine - Booklets, Ballarat School of Mines Students' Magazine 1954, 1953-1955
Three soft covered Magazines - the Ballarat School of Mines Students' Magazine for 1953-5. .1) 1953 - The Coronation Number. Articles include: The Mining and Metallurgy Congress, Aboriginal research, Power from Water, Engineering Etiquette, Australian Art Images include: Queen Elizabeth 2, Ballarat Junior Technical School winning the Marching Competition, competitors in the Redex Trial. .2) 1954 - Articles include: Eureka Stockade; Working in East Africa and Canada, Greece, Images include; Craig's Hotel, Eureka Swimming Pool; Barry Jones, Harold Everett, "Tailspin" Taylor, Pastoral Skipton, Margaret McGregor, Nancy Rimmington, Janice Tonkin, First Roll Call in Girls' Junior Technical School .3) 1955. Articles include: Tales from Malaysia, Literary Society Images include; Craig's Hotel, Signatures: N.H. Andrews; J. Skuja: Alan E. Johnson, B.V. McDougall, L.J. Mathews, Daryl Schmidt, J, Collierballarat school of mines, tinney, faneco, jim john, dean, spiers, ngip, barrie smith, stewart rowe, elaine walton, stevens, max stevens, sawyer, ann mitchell, flavel, ingleton, bethune, blackburn, boag, brokenshire, carmichael, kirby, kinnane, alec kinnane, ludbrook, meagher, searl, sheppard, gillin, murray gillan, archer, beattie, bautovich, benjamin, buck, bunting, athol day, eddie, habel, heyes, maddox, phillips, schreenan, donald stevens, tinissen, whitcher, ian whitcher, mccallum, ryrie mccallum, marching competition, skuja, wilton, neil andrews, ellen freemantle, alan johnson, willey, graeme willey, mainwaring, diana mainwaring, mcdougall, little, margaret little, lance matthews, philp davis, eureka stockade, eureka swimming pool, pools, swimming pool, restarick, kempe, barry johns, harold everett, taylor, holmes, wendell holmes, skipton, john collier, collier, daryl schmidt, chris sanos, greece, andrews, doull, everett, seong, lockhead, pitzen, watts, technical school, junior technical school, girl's junior technical school, ballarat girl's junior technical school, baxendale, stan kisler, graham willey, murray, jim murray, grundell, cleland, furlog, ron furlong, judy johnson, russ whitcher, anita young, durant, malaysia, literary society, thurling, andrewartha, barnes, ditchfield, peter ditchfield, dunlop, kisler, mcneil, orgill, quinlan, saggers, bill saggers, seabrook, williams, paddle, graham, handmer, hetehrington, dow, pine, ballarat north junior technical school, william saggers -
Bendigo Historical Society Inc.
Painting - CAROL HOLSWORTH COLLECTION: 1970 NATIONAL BANK PAINTING 'THE NEW CHUMS ARRIVAL ON A GOLD DIGGING'
1970 NATIONAL BANK PAINTING REPRODUCTION The New Chums Arrival on a Gold Digging .Artist unknown c. 1855 Below the picture title the words - Reproduced by the National Bank in 1970 from the lithograph in the La Trobe Collection , State Library of Victoria , by permission of the Library Council of Victoria .Bottom left corner shows a rough sign nailed to an upright post saying The Star Concert Hall Gus Hatton To night.The painting is divided lengthways by a stream with a two plank crossing apparently to show the differences between the seasoned miners above the stream and the new chums below the stream .The above centre of the picture is a windlass surrounded by men - an Aboriginal sitting by a fire , two men with bottles in hand depicting the proliferation of drink .The New Chums below the stream show men and a woman all wearing smart hats and clothes , some carrying unneeded items such as Umbrellaspainting, watercolour, gold diggers -
Orbost & District Historical Society
memorial card, 1912
This memorial card follows a style that was commonly used in the 1890s. The size of the card make it useful for presentation and handing out. There was a remarkably large production of memorial and funeral cards in Australia during the latter 19th and early 20th centuries and the style did not change (and many of the styles are still in effect today). Many of the card companies, in this case ‘The Memorial Card Co.,’ located at 143 King St, Sydney, published standardised plates which had areas for customisation. The card has the area for name, photograph, date of death and age. Poetry was often standardised, but could be requested at the behest of the person who commissioned the card Isabella Battley (nee Goad) was born in 1867, in Smythesdale, Victoria, Australia. She was married to James E. Battley when she died aged 45. James E. Battley was a director of the butter Factory in Orbost in 1915. Their son Ernest Albert Battley enlisted in the AIF from Orbost in 1916. His father is listed as Next of Kin and his mother as deceased. James was remarried to Eda May Battley (born Sargent) in 1914. He passed away in 1925, at age 57 Memorial cards are often treasured for a long time, and often become part of family history. The Battley family was an earlyn Orbost family.A black memorial card printed in memory of Isabella Battley. It has gold printed writing, a gold etched border and wreath. There is a photo of Isabella Battley and a memorial poem.memorial battley mourning -
The Beechworth Burke Museum
Animal specimen - Snake Skin, Trustees of the Australian Museum, 1860-1880
There is no known information about the species of snake that this skin belongs to. However, generally speaking, Australia has over two hundred known species of snakes. They are elongated, legless and carnivorous reptiles with scaly, textured skin. Snakes are especially important in Aboriginal dreaming, representing one of the great and powerful forces of nature and spirit. In the Rainbow Serpent Dreamtime story, they are considered the great life giver and protector of water, which is their spiritual home. 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 and the National Museum of Victoria, as well as individuals such 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.Caramel coloured long snake skin curled around in an oval shape.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, snake skin, snake, reptile -
The Beechworth Burke Museum
Animal specimen - Australaisn Bittern, Trustees of the Australian Museum, 1860-1880
The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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 and the National Museum of Victoria, as well as individuals such 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.The Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation it resides amongst in shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise its bill skyward in a pose which helps it camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern -
The Beechworth Burke Museum
Animal specimen - Australasian Bittern, Trustees of the Australian Museum, 1860-1880
The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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 and the National Museum of Victoria, as well as individuals such 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.The Australaisn Bittern is a stocky bird with mainly yellow and brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation where it resides amongst the shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise it's bill skyward in a pose which helps it to camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.Paper tag: ...Bittern... [Catalogu]e, page 3...taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern -
Federation University Historical Collection
Photograph - Photograph - Colour, Sandra Opie, Victoria School, Villers Bretonneux, 18/05/2012
Built in 1923-1927, the school is the gift from the children of the state of Victoria, Australia, to the children of Villers-Bretonneux as proof of their love and good-will towards France. Twelve hundred Australian soldiers, fathers and brothers of these children, gave their lives for the heroic recapture of the town on April 24th and 25th, 1918. On the front of the building there are two plaques (one in French and one in English) referring to this. In the School Yard, as well as an Aboriginal style mural created by the students of the school and inaugurated on ANZAC Day 2009, is an inscription over the porch on a green background in yellow writing saying : DO NOT FORGET AUSTRALIA Due to the strong bond of friendship between the Australian population and the inhabitants of Villers-Bretonneux. This message expresses the need to remember and show gratitude. Also situated in the school is the Victoria Hall, with its wooden paneling, co-ordinated by the Ballarat Technical Art School with most of the carving being undertaken by Australian sculptor John Grant of Daylesford Technical College in Victoria. The carvings represent fauna and flora from Australia. (http://www.museeaustralien.com/en/?Victoria_school, accessed 04/02/2014)Photographs of each of the Pilister at Victoria School, Villers Bretonneux. Each pilister is carved with an Australian Animal.villers-bretonneux, ballarat technical art school, victoria school, victoria hall, world war, world war 1, australian animals, possum, cockatoo, kookaburra, platypus, lyrebird, koala -
Churchill Island Heritage Farm
Clothing - Muff, Seal Fur
After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing and furs were tanned and lined with fine fabrics to create items of apparel. Seal fur has a soft velvety feel when stroked in the direction of growth. A muff was a thick tubular piece of fur or other material used by women and girls to keep the hands warm and it was also used as a handbag, The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Seal fur muff, with lining and some fraying on edges. seal, fur, churchill island, amess fur collection, janet, jane, amess, frances -
Wangaratta RSL Sub Branch
Newspaper Articles
Article One - Image of Private Wally Atkinson from Barmah, Victoria a descendant of Murray tribe. Article Two - Mealtime - image of aborigines at meal time Article Three - Swingtime - image of aborigines practisiing latest hits on gum leaves - members of gum leaf band have raised much money for local hospital,comfort funds. Article Four - Goanna Soup? image of Pte E Foster and Cook H L Harvey with "Myrtleford Mary" camp mascot (goanna) Article Five (on rear) - Canteen - image of aborignal squad at canteen. Aboriginal soldiers formed a special all volunteer platoon at No 9 Camp Wangaratta in Victoria from late 1940 until February 1941. No 9 Camp was set up at the Wangaratta Showgrounds to allow the formation of the 2/24th Australian Infantry Battalion prior to leaving for Egypt. Major Joseph Albert Wright a WW1 Light Horse veteran was in charge of this platoon the only Aboriginal squad in the Australian Military Forces at that time. The soldiers from Lake Tyers enlisted at Caulfield between June and July 1940 include Harold Cornelius HAYES VX 48217 DOB 2/4/1916 Enlisted 25/7/40 Discharged 22/3/1941 Edward FOSTER VX48218 DOB 25/5/1921 Enlisted 25/7/1940 Discharged 22/3/1941 Noel Ernest HOOD VX48194 DOB 3/1/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Edward Leslie MULLETT VX48199 DOB 30/6/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Samuel Richard RANKIN VX48201 DOB 23/7/1910 Enlisted 25/7/1940 Discharged 22/3/1941 Stewart HOOD VX47351 DOB 23/1/1903 Enlisted 18/7/1940 Discharged 22/3/1941 William GORRIE VX48208 DOB 22/11/1921 Enlisted 25/7/1940 Discharged 22/3/1941 David John MULLETT VX48195 DOB 10/6/1919 Enlisted 25/7/1940 Discharged 22/3/1941 Arthur Alexander (Tom?) MULLETT VX48198 DOB 25/11/1914 Enlisted 25/7/1940 Discharged 22/3/1941 Images relates to the "special platoon" based at No 9 Camp Wangaratta as being the Australian Army's first all Aboriginal Unit formed in 1940. The soldiers were all volunteers mainly from Lake Tyers in Victoria. In addition to normal army training they performed guard duty at the Army Hospital and Camp. They formed the Gum Leaf Band and led the troops at community singing and assisted in Methodist Church services. Four black and white newspaper articles adhered to cream paperno 9 camp wangaratta, aboriginal platoon, 1940 -
The Beechworth Burke Museum
Functional object - Ladies Coin Purse
Specific historical and contextual information pertaining to this object is unknown. There are no hallmarks or documentation to indicate provenance or historical significance. This coin purse appears to have a covering made of mother of pearl. Evidence of interest from over 20,000 years ago mark Aboriginal groups in Australia as some of the first people to value the power and beauty of pearlshell, while evidence of Australian pearlshell being taken across the sea to other countries dates back as early as the 1500s. The 1850s-60s saw the beginnings of the Australian pearling industry. Following the popularisation of plastic for items such as buttons the pearlshell market waned in the mid-twentieth century but was soon after began to re-forge in Australia with a new industry of cultured pearl farms. Most of Australian's pearling industry was initially located in Western Australia and off the Torres Strait Islands. The Australian War Memorial notes on their website that many tokens made from mother of pearl were sent home to loved ones throughout World Wars One and Two from the Middle East, England, the South West Pacific, Australia and elsewhere, but that unfortunately provenance such as the manufacture and sale of many of these items is not recorded.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A small rectangular purse with silver edging and half clasp, covered in white and cream coloured shell (mother of pearl?)A01154burke museum, social history, accessories, mother of pearl, nacre, australian industry -
The Beechworth Burke Museum
Animal specimen - Quoll, Trustees of the Australian Museum, 1860-1880
Quolls are small carnivorous marsupials native to Australia and New Guinea. Tjilpa is the name given to the quoll amongst the Northern Arrernte language group of Australian Aboriginal people. Quolls are primarily nocturnal and spend most of the day in a den. Of the six species of quoll, four are found in Australia and two in New Guinea. The six species vary in weight and size, from 300g to 7kg. They live in coastal heathlands, sub-alpine woodlands, temperate woodlands and forests, riparian forests and wet sclerophyll forests. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from either the Trustees of the Australian Museum or from the amateur anthropologist Reynell Eveleigh Johns between 1860-1880 and mounted by members of the Burke Museum Committee around the same time. When all taxidermy mounts were completed, they were quickly 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.Small quoll with a small round head, long body, and long, thin tail perched on a branch attached to a wooden mount. The quoll has four skinny legs which have long, dark claws. The quoll's hair is a fawn colour with cream spots. There are two black eyes made of glass, two short pointed ears and black whiskers.On wooden mount: BMM5897 /taxidermy, quoll, animal, australia, burke museum, beechworth, reynell eveleigh johns, taxidermy mount, marsupial -
The Beechworth Burke Museum
Animal specimen - Australasian Bittern, Trustees of the Australian Museum, 1860-1880
The Australaisn Bittern is a partly nocturnal bird who resides in costal and sub-coastal locations in south-west mainland Australia, south east Australia and Tasmania. They can be found in wetlands, swamps and among reeds. These birds are mostly brown and yellow in colour and with short legs and a stocky body. The "woomph" sound made by the Bittern late at night is thought to have been the origin of the traditional Aboriginal myth of the Bunyip. The Bunyip, like the Australasian Bittern, was believed to reside in reedy swamps. 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 Australaisn Bittern is a stocky bird stylised in a standing position with brown colouring. This colouring makes the bird difficult to see in the dense, reedy vegetation it resides amongst in shallow freshwater wetlands. When threatened, the Australaisn Bittern will raise its bill skyward in a pose which helps it camouflage. This specimen has streaked yellow-brown feathers, a yellow bill and legs which are a yellow-green colour. It stands on a wooden platform.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, bunyip, myths, australaisn bittern, bittern -
Federation University Historical Collection
Drawing - Artwork - Drawing, Jeff Zilles, ZILLES COLLECTION: City of Ballarat Coat of Arms, c1975
The following research was undertaken for the Coat of Arms in the foyer of Ballarat Civic Hall, painted by Angus Henderson. The Ballarat arms were granted on 10 May 1956. The shield is supported by a farmer and a miner and topped by a trident (referring to Britannia and aquatic sports) with sprigs of wattle and begonias either side. The crossed oars against the Eureka flag refer to rowing events in the 1956 Olympic Games. The importance of farming and industry are shown by the sheep and cogwheel while the lyre reflects the City’s commitment to the arts and Royal South Street Society, which contributed to the design of the Civic Hall. The name Ballaarat came from two Aboriginal words: balla and arat, meaning ‘resting place’. At the time of Council amalgamations, May 1994, Ballarat became the name of the new Council. The Latin motto: Cultus: cultivation, care, worship Formar: form, shape, appearance Industria: diligence, activity, industry Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat.Small Ballarat coat of armscity of ballarat coat of arms, crest, zilles printers -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B/W Watercolour,'Spring Grove' Charman Cottage built c1855 E Barlow c 1900, Elsie Barlow, c1900
This is a B/W photograph of a Water colour by Elsie Barlow c 1900. The original water-colour is in the collection of the Beaumaris and District Historical Trust in the State Library of Victoria. 'Spring Grove' was the home of the Charman family in the Parish of Moorabbin. Stephen Charman, aged 21years, arrived in Melbourne in 1842 as one of Henry Dendy's Emigrants. 1852 he purchased 160 acres for £328 bounded by Charman Rd and Balcome Rd. 'The Spring' was an important water source for the local Aboriginal people and then for the early settlers. Charman's first wife Harriet and their infant child died and in 1850 he married a widow with 5 children, Mary Gettens. Their first home was made of wattle and daub and they had 7 more children. Later a weatherboard cottage was built c 1855 Together they developed a market garden and specialized in marigolds which were sold for medicinal purposes to the Melbourne Chemists - Martin & Pleasance . The first Methodist Church Services were held at Spring Grove and the Charmans donated land in 1857 for the first Chapel, Cemetery and Primary School . Mary died 1870 and Stephen married again and moved to Gippsland where he died aged 85 in 1906Stephen and Mary Charman were pioneer market gardeners in Moorabbin Shire 1842 and were involved in the development of Church, school and community in the area now called Cheltenham. Charman Road Cheltenham was a boundary of their land. Black & White photograph of a Watercolour of Charman family cottage built 1885 Cheltenham Signed E Barlow on back ; A Cottage in Charman Road - the Dandelion Season / by Elsie Barlow / In the Collection of the State Library Victoria / Reproduction requires the permission of the Library Moorabbin Standard Newspaper moorabbin, cheltenham, dendy henry, dendy's special survey 1841, assisted emigrants early settlers, pioneers, market gardeners, marigold flowers, pharmacy, charman stephen, gettens mary, charman harriet, methodist church, primitive methodists, box william, box elizabeth, state schools, education, moorabbin shire, moorabbin roads board, city of moorabbin, kingston city council -
Churchill Island Heritage Farm
Clothing - Strip, Seal Fur
After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing or was unlucky enough to come ashore on the Island. Furs were tanned and lined with fine fabrics to create items of apparel because seal fur has a soft velvety feel when stroked in the direction of growth. This strip appears to be around 22 inches in length and would be suitable to use as a belt for a tiny waisted lady or girl or it could have been used as a collar.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess womenA narrow strip of brown seal fur with grey backingjane, amess, janet, frances, seal, fur, churchill island -
Churchill Island Heritage Farm
Clothing - Seal Fur Stole, c. late 1800s
Lined with brown silk 189.5 x 13.3cm After European settlement in 1788 Australian Fur Seals were hunted intensively from 1798 until 1825 for meat, oil and their skins. The growing Industrial Revolution called out for oil which was readily sourced from seals along with their valuable fur. Indigenous people had been sustainably harvesting seals for their meat and their skins .and the European sealers often coerced or kidnapped Aboriginal women for their knowledge of hunting seals. After 1825 the seal population had been decimated and therefore the hunt was no longer economically viable, but it wasn’t until 1923 that the Australian Government legislated to stop the hunting of seals altogether. In the time of the Amess family residence on Churchill Island it was perfectly legitimate to shoot any seal that interfered with fishing and furs were tanned and lined with fine fabrics to create items of apparel. Seal fur has a soft velvety feel when stroked in the direction of growth. This stole being quite narrow compared with the length would have been wrapped a few times around the shoulders and being lined with silk would have felt quite luxurious. This seal fur stole was owned by Janet Amess (nee Straughan), wife to Samuel Amess and owner of the Churchill Island Farm from 1872 - 1929. She passed this item through the generations until it reached the donor, Unity.Band of seal fur backed and trimmed with brown silk.seal, fur, janet, frances, jane, amess, churchill island, clothing, 19th century, stole, fashion -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Work on paper - ink and watercolour, Annette Meikle, Karinga, 1977
In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This inter-war house located at 60 Bluff Road, Black Rock, was built in 1926 for former Scotland Yard and Criminal Investigation Branch detective Horatio Reginald Clarence McWilliams. When McWilliams died it was found that he had taken extreme measures to protect his security. All the windows were nailed shut, a network of burglar alarms ran through the house and a complicated underground air raid shelter had been built in the garden. The security measures were at odds with the name of the house – Karinga or Karinya – an Aboriginal word meaning peaceful, happy home. Later residents of ‘Karinga’ included Senator Don Chipp and his family. The property has since been demolished and apartments have been built on the land.Annette Meikle, Karinga 1977, ink and watercolour, 32 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock, karinga, karinya, horatio reginald clarence mcwilliams, senator don chipp, historic house, bluff road -
Vision Australia
Administrative record - Text, Royal Victorian Institute for the Blind annual report 1957-1958, 1958
Events that occurred during the year : further expansion of nursery with 3 children under the age of 3 admitted, first Aboriginal child (Alexander Marks) was admitted, children gained 23 swimming certificates, some Scouts met Lady Baden Powell, Board approved revised sketch plans for 42 acre site at Box Hill, doubling of Talking Book Library service with additional 60 machines purchased at a subsidised cost courtesy of the Nuffield Foundation, Alberta Tutton is taking a break from Auxiliary President duties with J. A. Duncan filling the temporary vacancy, thanks to Mabel Nelson for acting as accompaniste to concert artists, resignation of Alban Whitehead as a Country Concert Party manager and appointment of Denis Bandel in the position, outgoing Council member Cr. W.J. Wrens was recognised as Companion of the Order of the British Empire, and Captain Semmens and crew of 'Triaster' provided play equipment for playground. Dick Sutcliffe led the blind orchestra as it played 'There'll Always Be An England" as Queen Mother drove by the Institute and stopped when she saw the crowd of blind children and workers waiting for her, accepting a bouquet of gardenias from Margaret Oliphant.1 volume of text and illustrationsannual reports, royal victorian institute for the blind -
Federation University Historical Collection
Document - Documents, Golden Point - Mount Pleasant Progress Association Establishment
The Golden Point - Mt Pleasant Progress Association was established on Wednesday 6 April 1983. Membership was open to any person or organisation in the area generally bounded by Bridge mall and Skipton Street, Elsworth Street and main Road. annual family or organisation membership was $2.00. Mara Gluyas served as secretary of the Golden Point - Mt Pleasant Progress Association from 1983 to 1994. Ian McKinnon was the President from 1983 to 1992. Kerry Daniels was the President in 1994.A small white cardboard box with purple lid of A4 documents relating to the establishment of the Golden Point - Mt Pleasant Progress Association. The documents include the original constitution and minutes. Topics include: Pearce's Park; removal of elms, names and addresses of members, Sovereign Hill realignment; Sovereign Hill Lookout; membership form; Golden Point Historic Mines Direction Indicator; Ballarat Observatory; Nerrina Tip; Yarrowee Creek; Mine Capping (Sovereign Mine); tree planting (Sovereign Hill Lookout); Magpie Street Park; Hill Street; Yarrowee Flora Park; Barkly Street; South Street Bluestone Gutter; Ballarat Goldfields; Eastern baths site; Grant Street; Flooding; Aboriginal Advancement League; Sunnyside Woollen Mill; Chinese Garden; Golden Point Primary School closure; Ballarat West Goldfields; Sovereign Hill Land Title and Management Revision; Wainwright; Street; Llanberris; Yuille's Station Parkgolden point, mount pleasant, mt pleasant, ian mckinnno, mara gluyas, peter hiscock, frank williams, geoff howard, leigh gillett, sovereign hill, kerry daniels, norm strange; graeme kent; george netherway; keith rash; ian mckinnon, albert graham, bryan crebbin, jim humphreys. wid radbourn, heath martin, janet dore, alex mills park -
Federation University Historical Collection
Magazine - Booklet, Ballarat School of Mines Students' Magazine, 1952-1961
1957 - Art Lending Library, Neville Bunning, Dana Street Primary School - The Original Ballarat Junior Technical School, ATC, Flight Cadets; Ballarat Junior Girls' Technical School, Ballarat North Junior Technical School, Roll Call 1960 - Ballarat School of MNes Literary Sociaty, begonia parade, Efficient reading, enter the modern, Lois Morris, sheetmetal, G. Cornell Obituary, I. Menz Obituary, metallurgists' Society, Olympic games 1961- Red, black and white soft covered magazine of the Ballarat School of Mines Information outlined in the magazine includes: The Richard W. Richards Medal, Philips Electrical Industries scholarship, A.F. Heseltine scholarship, Hong Kong To-Day (by Daniel Yung), A Treatise on Mount Morgan, Bath Push, The Stud Room, A Gentlemen's Excursion to Beaufort House, Electrical Laboratory, Metallurgical Laboratory, The Australian Aboriginal in Modern Civilization (J. Kavanagh) , The history of Electricity ballarat school of mines, ballarat junior technical school, cadets, flight cadets, airforce cadets, ballarat school of mines students' association, noel delosa, noel whiticher, bob coutts, noel kelly, les dobie, noel murphy, malcolm peel, peter agrums, ian weir, sue mole, val baker, neil bromley, kevin oscar rogers, h.e. arblaster, richard w. richards, dick richards medal, keith hindson, james tinney, walter tooth, john bethune, vilma sansom, betty clark, travers duncn, joyce wilson, lex lockhart, jim beattie, joyce stevens, slim ingleton, john skuja, murray gillan, graeme willey, diana mainwaring, eureka stockade, east africa, canada, sumatra, chris sanos, greece, malaya, bee-keeping, worshipful company of plumbers, hong kong, daniel yung, mount morgan, history of electricity, peter robinson, john clelland, davis schmist, harry brue, harry brew, rex hollioake, broken hill, excusions, john wolfe, beverly selkirk, barry singleton, mara jekabsons, bill widdop, frank pomeroy, art lending library, nevill bunning, john mckenzie, ballarat girls' technical school, robert norton, graeme williams, alan bethuse, janis erdmanis, alan rock, gail trewanack, tony white, ching thung tay, jack tay, noel whitcher, norm nash, helen ross, eric mcgrath, g. cornell death, i menz death, john wolffe, brian duthie, bill durant, w.g. durant, heather walton, heather durant -
The Beechworth Burke Museum
Animal specimen - Platypus, Trustees of the Australian Museum, 1860-1880
The platypus is a semi-aquatic, egg-laying mammal endemic to eastern Australia. It is the sole living representative of its family and genus. They can grow up to 63cm in length and weigh up to 3kg, and their life span is typically 6-15 years. The unique mix of physical features of the platypus make it an important subject in the study of evolutionary biology, and a recognisable and iconic symbol of Australia. Furthermore, the platypus is culturally significant to several Aboriginal peoples of Australia. The animal has also appeared as a mascot at national events and features on the reverse of the Australian twenty-cent coin, and is the animal emblem of the state of New South Wales. 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 and the National Museum of Victoria, as well as individuals such 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.A long, stocky platypus with a streamlined body and a flat bill. The platypus has four short limbs with webbed feet, and the front-right foot is positioned upright. The hair is short and dense; the upperbody fur has an auburn tint, and the underbody fur is a silver/cream colour. The platypus has two beady black glass eyes.On tag: BMM / 5899 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, platypus, monotreme, mammal, ornithorhynchus anatinus -
Eltham District Historical Society Inc
Negative - Photograph, Carl Walter 1831-1907, Coffer dam in the Yarra River at Anderson's Creek, 1864
1864 photograph of the Coffer Dam in the River Yarra situated (approximately) opposite Whipstick Gully. Remains of bridge built in 1860(?) wrecked by 1863 flood in background. Reproduced page 29 of ‘Pioneers & Painters’ Gold was first discovered in this area at Andersons Creek (Warrandyte) in June 1851 by Louis Michel. Discoveries north of the Yarra did not occur until about 1854. Although it took some months for a true rush to develop it was not long before alluvial workings were being carried on in most of the Shire of Eltham. The last area in which gold was discovered was Kinglake. As the gold became harder to find, deep mining took over from alluvial diggings in the gullies. Perhaps the most extensive of the deep workings was the Diamond Creek Mine just outside the boundary of the Shire. This form of mining was continued into the 1930s. There are believed to be some mines in the area still capable of producing gold but present prices make working these uneconomical. Some gold is still found by weekend prospectors. Photo: Carl Walter 1831-1907 – inscribed on tent “C. Walter Photo” The State Library of Victoria holds over 150 photos by Carl Walter, most of which are portraits of Aboriginal natives including William Barak.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg (2) Print 20 x 25 cmshire of eltham pioneers photograph collection, anderson's creek, coffer dam, floods, gold mining, other areas, pioneers and painters, warrandyte, warrandyte bridge, yarra river