The Bar Lock typewriter is a patented design by the inventor and lawyer Charles Spiro in 1888. The keys are easily recognised and well spaced. Used by the typists working in the office for the State Electricity Commission of Victoria during the construction of the Kiewa Hydro Electric SchemeLarge, heavy black typewriter with white letters on the keys. Green matt finish with gold printing. c 1921 Model 22?Bar-Lock / Manufactured by / Bar-Lock Typewriter Co. Nottingham England/Supplied by / Richard Williams Pty Ltd. 193/197 King St. Melbourne At the back in gold print: "Serial / Number' rest too hard to read. typewriter, bar-lock, office equipment

Timber frame, fawn matt board. Colour photo of 6 soldiers relaxing outside the canteen with weapons leaning against a building.baria canteen, 1 rar, photograph

Framed coloured photograph of an American F-4-Phantom Plane in orange matt. Photograph is of plane flying against a sunset background.Best Wishes 12 TRSphotograph, planes, f4b phantom

Colour photo in wooden frame with buff matt board. De[icts an elderly couple pointing to a name on the memorial wall in the USWes Kendall (signature)vietnam veterans' memorial

Black timber frame, buff coloured matt board framed colour photograph of Sioux helicopter on the ground with soldier collecting the mailDavo collects the mail - Vietnam 1971 copyright Len Pavich - My Vietnam Collectionphotograph, sioux (helicopter)

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned.32 In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery.33 Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Photograph of the sailing ship Schomberg, mounted in a wood frame behind glass with a white matt Figures can be seen on deck of the ship."Schomberg 1854-1855"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, photograph

CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Screenprint of standing female figure dressed in black and holding a red umbrella. The figure is wearing a red glove and a pink item in her hair. The background is a floral wallpaper print in blues and greens. The clothing appears to be from the Victorian era. Mounted in a textured grey matt with green matt edging in a black and silver frame with glass.Front: 29/ 37 (lower left) a Gee (lower right) (pencil) Back: (no inscriptions)female artists, female artist, angela gee, poster workshop, 150th anniversary, angela gee residency

This historical family photograph spans three generations of the Cooper Family, a pioneer family, still residing in the Kiewa Valley. The large axe held by Pat was a handy tool for pioneer families to chop down trees for land clearing, building sheds and fences, outhouses and fire wood. This photograph was taken during a time where both male and females did some heavy lifting and processing. The rural sector at this point in time was physically a hard location for both sexes. The segregation of the sexes into specific job categories was some times non existent although household "chores" was in the main a woman's domain. The rural sector was in this point of time one which women were highly respected and the unwritten law of providing "assistance" and "reverence" by men in such actions as, socially opening doors, tipping the cap, offering a sturdy arm for support and refraining from doing or saying anything "uncouth" in a woman's presence. It was in a time when women's liberation was just starting to grow strength. Rural areas, on the hole, took longer to interfuse "city" hatched norms of behaviour. This photograph of a pioneer family still residing in the Kiewa Valley demonstrates not only the close protective environment that the valley has on all its inhabitants but also the close bonding that neighbors have towards each other. The term "God's gifted country" fits warmly with all the settlements in the valley. The relatively isolated (physically, visually and communications wise) has since post World War II been whittled away by faster and vastly improved communications with "the outside" world. The strength of commitment to the rural life can be seen in the faces of the family members in this photograph. The proud heritage is displayed without any external pressure. This large black and white family photograph is a reproduction on Fujicolor Crystal Archive Paper manufactured by Fujifilm. It is 200gsm matt finished paper with no borders. On the reverse side, written in pencil "Ted Cooper sitting aged 24-25, Pat Amery (Ted's youngest sister) holding Ted's eldest son Doug and Ted's father John Franklin Cooper(22-8-1892)"john cooper, ted cooper, pat amery, doug cooper, pioneer family kiewa valley

Black & white photo showing part of building on right side with fountain, path with rose garden & statue in foreground. Matt finish photo

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Landscape image of two zebras grazing in long yellow grass. Mounted on cream matt, in a wooden frame with glass. Brown and yellow colours.Front: 1/7 (lower left) Africa (centre) Mary Macqueen - 73 (lower right) (pencil)female artist, female artists, women, women artists

Framed copy of original Publican's License*. Printed Licence with hand written details. black fram and buff coloured matt. *as spelt on Licence

Natural timber frame, cherry red matt board. Colour photograp of black dog and handler (armed) and squatting on cleared ground at twilight.tracker dogs, photograph

Other number 03669.3Colour photograph of B grade squash team Squashed, Tamara Daniel, Faye St John, Matt Nichols, Lakes Entrance Victoriasports, squash

Framed photograph - metal frame, cardboard backing, light green card window mat, of Mike Ryan (VicTrack) as Project Manager for the redevelopment of the Hawthorn Tram depot and Matt Faubel of the Urban Land Corporation for The Age newspaper article titled "Business Victoria - Joint deal puts wheels back on tram plan", 13/9/1999. On the rear of the frame is a photocopy of the article. Photographed on tram 180, with 610 alongside and a photograph of the Hawthorn depot. See also Reg item 2726.2 for an associated newspaper cutting and 2726.6trams, tramways, victrack, hawthorn tram depot, reconstruction, tram 180, tram 610

UPPER STOREY OF THE HOSPITAL WAS REMOVED DURING THE 1930'S THE BUILDING WAS DESTROYED IN A BUSHFIRE IN JANUARY 1944. PHOTOGRAPH OF THE OLD CLUNES HOSPITAL, BUILD IN 1873. WRITTEN IN INK UNDER PICTURE POINTS OF INTEREST .1 SEPIA PHOTOGRAPH MOUNTED ON MATT BOARD .2 PHOTO PRINT OF ABOVE PHOTO - BLACK AND WHITE .3 PHOTOCOPY ON PHOTO PAPER - BLACK AND WHITE .4 SEPIA PHOTOGRAPH MOUNTED ON MATT BOARD .5 COPY OF SEPIA PHOTOGRAPH MOUNTED ON MASONITETHE HOSPITAL. BEAUCHAMP PHOTO 104 STURT ST BALLARATlocal history, photography, photographs, hospital [old]

UnknownLine drawing of a cheetah reclining and looking over its shoulder to the right. Mounted in pale cream matt. In red wooden frame with glass glazing.Front: M. Macq (lower left, signature)(pencil) Back: "Cheetah" $65 Drawing Mary Macqueen Iowen St East Kew 3102 803155

On disply at History House. Likely reproduced and mounted by the Family History Group Inc.Two black and white photographic reproductions of earlier photographs mounted in oval setting in a burgundy matt. Framed under glass in a black and gold frame.Front: Duncan Munro, 1828 - 1890. Katrina Munro [MacPhee], 1827 - 1901. (top). Duncan and Katrina Munro sailed from the Isle of Skye with their daughters, Christina and Isabella on the 20th May 1854 aboard the ship ARABIAN. Isabella died on board and William was born at sea. They arrived at Portland Bay on 18th (?) September 1845. Their other eight children were born at Portland. (lower centre).

Document. Greeting Cards. Small white card with green, pink white & blue floral border. Inside is a verse from Matt. XIX. 14.person, greeting cards, malone collection, malone collection, greeting cards

Coloured photo in black wooden frame with brown matt board depicting 2 tired soldiers sitting on top of a two-man weapon pit.My Vietnam collection. "Buggered", "Fire support Base Coral - Vietnam 1968 @ Larry Davenport.fire support base - coral

PRESBYTERIAN SUNDAY SCHOOL PICNIC AT MT. BECKWORTH IN APRIL 1902. .1 SEPIA PHOTOGRAPH MOUNTED ON PALE GREY MATT BOARD, LARGE GATHERING OF ADULTS AND CHILDREN AT MOUNT BECKWORTH, IN APRIL 1902. .2 AS ABOVE.1 On Reverse; APRIL 1902. MOUNT BECKWORTH On Front; BAWDEN, PHOTOGRAPHER, CLUNES .2 On Reverse; M Harris Mount Beckworth April 1902 On Front; BAWDEN, PHOTOGRAPHER, CLUNES - Handwritten in pencil names of some attendees, Mrs Weickhardt, Ethel Harris, Jack Campbell bag pipes, Miss Roberts small face, Ernest Harris with beard, Mrs. Fraser?, Alice Harris, Amelia Harris, Olive Cowan, Janet Frazer, Eva Robinsonlocal history, photography, photographs, churches, presbyterian

Unused ticket to a civic charity dinner dance hosted by the City of St Kilda (Mayor Colin Bell) at St Kilda Town Hall on 26 July 1982. Incorporates a detachable numbered table reservation ticket.Card, glossy green on the front and matt white on the back, printed in black. A third of the card has been scored, for easy removal of that section of the ticket.city of st kilda, civic dinners, st kilda mayor colin j bell