Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, South Road, Moorabbin, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph of South Road, Moorabbin, west of Jasper Road, looking east depicts steel poles with two lamps in a median strip and supply wires from pole to pole. The poles were described as 100′ apart. The notation on the rear of the photograph was that there were lamps along the median strip except at intersections. A wooden pole is recognised as supporting heavy supply lines across the road. The steel poles in the photograph were said to be between 3′ to 3.5′ whereas the wooden poles were three to 12.25″ in diameter. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.2 South Road - Moorabbin, west of Jasper Road, looking east. Steel poles with two lamps in median strip and supply wires from pole to pole along median strip (poles only 100' apart). Lamps along median only except at intersections. Wooden pole supports heavy supply lines across the road. Wooden poles 3' up and 8 1/2" dia. Wooden poles 3' up and 12 1/2 dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965, public infrastructure -- city of kew, city of kew -- engineer's department

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965, public infrastructure -- city of kew, city of kew -- engineer's department

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, North Road, Ormond, 1965. Electricity supply poles photographed for the Kew City Council by Stuart Tompkins Studio. The photograph of North Road, Ormond west of Jasper Road, looking east depicts wooden poles carrying two lamps in a median strip and with two on each side alternately. It was noted that the supply wires were from one side only. The poles were described as 3′ above ground and 11.25″ in diameter. The plan was to use this approach for Burke Road, Kew. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.1 North Road - Ormond, west of Jasper Road, looking east. Wooden poles carrying two lamps in median strip and two on each side alternately just as is proposed for Burke Road, Kew. Supply wires from one side only. Poles 3' above ground 11 1/4" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Burke Road, Kew, 1965. This photograph of Burke Road, Kew was taken just north of Kilby and Doncaster Roads looking north. Stuart Tompkins Studio provided the photograph for the Kew City Council. In the photograph are a number of electricity supply poles that have been erected in the median strip, in addition to some new poles on each footpath. The nearest wooden pole is stated to be 13.5″ in diameter. The electricity poles in Burke Road required Kew Council to investigate comparable designs in other Melbourne municipalities. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.5 Burke Road - Kew, just north of Kilby and Doncaster Roads looking north. Some of seven poles already erected in median strip. Shows also some new poles erected on each footpath. Nearest wooden pole 13 1/2" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Burke Road, Kew, 1965. This photograph of Burke Road, Kew was taken just north of Kilby and Doncaster Roads looking north. Stuart Tompkins Studio provided the photograph for the Kew City Council. In the photograph are a number of electricity supply poles that have been erected in the median strip, in addition to some new poles on each footpath. The nearest wooden pole is stated to be 13.5″ in diameter. The electricity poles in Burke Road required Kew Council to investigate comparable designs in other Melbourne municipalities. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.5 Burke Road - Kew, just north of Kilby and Doncaster Roads looking north. Some of seven poles already erected in median strip. Shows also some new poles erected on each footpath. Nearest wooden pole 13 1/2" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Burke Road, Kew, 1965. This photograph of Burke Road, Kew was taken just north of Kilby and Doncaster Roads looking north. Stuart Tompkins Studio provided the photograph for the Kew City Council. In the photograph are a number of electricity supply poles that have been erected in the median strip, in addition to some new poles on each footpath. The nearest wooden pole is stated to be 13.5″ in diameter. The electricity poles in Burke Road required Kew Council to investigate comparable designs in other Melbourne municipalities. [There are three copies of this photograph in the Collection.] Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.5 Burke Road - Kew, just north of Kilby and Doncaster Roads looking north. Some of seven poles already erected in median strip. Shows also some new poles erected on each footpath. Nearest wooden pole 13 1/2" dia." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."stuart tompkins studio, street lighting, south road (moorabin) 1965

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, public works -- 1960s, civic infrastructure -- 1960s

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, civic infrastructure - 1960s, public works -- 1960s

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, public infrastructure -- 1960s, civic works -- 1960s

The newsletter was attempting to reach out to the stakeholders and friends to ask the Australian Government to grant the centre tax destructibility status. Launch of Emily's list in the centre. Monash University Research Group for Women's Mental Health launch at the centre.A4 Printer paper. 8 pages. Navy and taupe on white. Grey scaled images throughout.cultural structures and establishments, newsletter, historical site, fundraising

188 pages, illustrated.

188 pages, illustrated.

Purchased from the author when he spoke at a meeting of the Surrey Hills Historical Society. This meticulously researched book lists all towns and villages with entries in the Victorian censuses between 1841 and 1901. There are over 1400 entries. It includes the latitude and longitude for each town. It indicates how many males and females lived in the town, and the number of occupied dwellings (where available). For many of these settlements the only visible trace of them today is in the census results collected by the fledgling governments of Colonial Victoria. It is a comprehensive reference and a fascinating insight into the movements of early populations of new Australians and the forces that shaped them and is useful to historians, researchers and all readers with a fascination for colonial history.This book lists all the towns and villages with entries in Victorian censuses between 1841 and 1901. There are over 1400 entries. 518pp, with place name index. cities and towns, ghost towns, victoria, 1841, 1901, angus b watson

Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson undertook undergraduate studies at the Canberra School of Arts and Phillip Institute of Technology. She completed a Graduate Diploma in Education at the University of Ballarat in 1987, and a Doctor of Philosophy in 2000. She has chosen central motifs in her work, which she incorporates throughout a series. The urn has been a unifying motif in Wilson's map work and testifies to the way in which function drives form across cultures. Carole's work is held in many public collections including the National Gallery of Australia, the Powerhouse Museum, State Library of Victoria and a number of regional Victorian galleries. Her posters are in museum collections in Finland, Moscow and Poland. In 2001 Dr Wilson was awarded a Doctor of Philosophy (Visual Art) from the University of Ballarat (Now Federation University). She graduated with a Graduate Diploma in Education from University of Ballarat in 1987, and a Diploma of Art from the Phillip Institute of Technology (RMIT) in 1984. Carole Wilson lectures at Federation University Australia: 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Donated through the Australian Government's Cultural Gifts Program by Anne M. Drum, 2011art, artwork, carole wilson, maps, urn, alumni, available, staffmember

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

The cabinet has a curved back and would have been custom‐built to fit the dimensions of the lantern room interior. It is likely to date from when the lighthouse was built in 1884 and may have been among the items delivered by the government steamer dispatch early in March which included ‘the lantern and other fittings for the Cape Nelson Lighthouse’. The Public Works Department provided a range of lightstation furnishings including office desks and cabinets, and domestic settings for keepers’ quarters, with nineteenth century items often stamped with a crown motif and the PWD monogram however the curved cupboards installed in Victoria’s lighthouse lantern rooms do not appear to display this small feature. Further research may reveal more about their manufacture and it is tempting to think that they were perhaps even supplied by Chance Bros as part of the entire lantern room installation. The company usually provided the timber battens for the lantern room paneling, and a cabinet may have been included in the assemblage. Another possibility is that the specially designed cabinet was made on site by carpenters along with other fittings. It is not known whether it is attached to the wall or movable; if attached it is considered to be a fixture and included in the Victorian Heritage Register listing for the lightstation (VHR H1773). Its location, when identified in the CMP of April 1995, was on the ‘lower lantern level’, where there was also a ‘timber step ladder’ (Argus, 6 March 1884, p6. nineteenth or early twentieth century), ‘timber framed lighthouse specification’, ‘timber framed chart’ and telephone .Residue on the furnishing indicates that it was formerly painted green, the colour of some of the other fixtures in the room, such as the original cast iron ladder. It is now partially varnished and the corner to the top’s edging on the right side has been cut off. The lighthouse also has a large curved back, two‐door cupboard. Other similar cabinets with curved backs survive at Cape Schanck, varnished wood cabinet with brass door knob, no drawers; Point Hicks, painted green with silver doors, no drawers and Gabo Island, bench top, 2‐door, no drawers, green paint removed to reveal cedar timber). Cape Nelson’s curved cabinet is unique among these examples for having drawers. The cabinet is a unique, original feature of the lantern room and has first level contributory significance for its historic values and provenance.The bench top cupboard has two drawers, each above a door, and each door is framed and beveled around a central panel. The cabinet has a curved back.