This is a steel, bench-mounted, hand-operated (60 rpm) butter churn for making small amounts of butter from cream in the home. It was made by the Sydney firm of Malleys Ltd from the 1930s until the 1950s and came in 3 and 5 quart sizes. Malleys Ltd was established in about 1890 by Francis Malley (1863-1932). This firm was located in the Sydney suburb of Alexandria, in McEvoy Street. They manufactured items for use in the dairy industry, as well as for hardware related to building and plumbing. Many of the Malley dairy products were sold under the "Sunrise" name. Malley retired in 1912. In 1931 there were branches at Parramatta, Hurstville & North Sydney. Butter churns were machines used to produce butter by the violent agitation of separated cream. Depending on the design of the churn, the agitation would be variously achieved by a repetitive thrashing, centrifugal motion or internal paddles. Churns were typically constructed from wood, glass and cast-iron; with tin or steel commonly used for some fixtures. The subject item gives an insight into domestic life where butter was made in the home.Heavy red cast iron base, with a long handle, wooden grip, connected to a shaft along the base, thence, to a cog wheel, and gear, to a second shaft and paddle in a metal basin. Basin has lid, and hole in base with a screw cap to allow the draining of the butter milk. Designed to be placed on a bench, with the handle over the edge. Malleys is written in raised letters on the base, and on the handle, '60 rev. pr. min.'warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, malleys, butter churn, domestic object, dairy machine

A shackle is a U shaped piece of iron closed with a pin across the jaws. It is used for securing anchors to their cables, joining lengths of chain cables and so on. This type of shackle is the same size and shape as an ordinary link of the cable and fits into the snugs of the cable holder when verring or weighing. This Kenter type, chain joining link or shackle would commonly be used with anchor chain in the marine industry for applications such as anchors, moorings and ballast. It is a versatile link that can be opened and closed by removing and re-inserting the taper pin and lead plug, allowing for easy joining and detaching lengths of chain, and for repairing damaged links in chain.This is an example of ship's maritime hardware used in Victoria in the 19500s.Half of a chain joining shackle or joining link, Kenter type , painted blue. Often used as a marine anchor chain link. A complete shackle would comprise an oval shaped loop of thick metal and central metal chock comprises three pieces; two half oval pieces with shaped ends. The pieces are joined by a taper pin diagonally through holes in each piece, then fixed firmly by a lead plug in a hole near the head of the pin. This object is missing its other half, plus the chock and the tapered locking pin.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shackle, joining link, chain joining shackle, anchor chain joining link, marine chain joining link, kenter type chain joining link, marine hardware, kenter chain joining shackle

This book is the story of modern Warrnambool, describing aspects of the city from the 1980s to 2015. It looks at such topics as religion, law, population, housing, infrastructure, employment, industry, health, education and politics. The author, Gordon Forth, was formerly a lecturer in the Faculties of Education and Arts and the Director of the Centre for Regional Development at Deakin University in Warrnambool. He has written and edited a number of books dealing with Warrnambool and district history. Mark Rashleigh, responsible for the design and lay-out of the book and many of the photographs, was a lecturer in visual communication and graphic design in the Faculty of Arts at Deakin University and is now involved with the Warrnambool and District Historical Society in the preparation and cataloguing of historical photographs.The book is of some importance as it is the only comprehensive study of Warrnambool over the past 30 years and complements ‘By These We Flourish’, the story of Warrnambool’s people, places and events up to the 1980s. It is will be of great interest to readers in general and researchers in particularThis is a hardcover book of 320 pages. The dust cover is multi-coloured (black, white and gold) with an image of the water tower at the former Fletcher Jones Factory site on the front cover and an image of the Warrnambool Breakwater on the back cover. The hard cover book has the same colouring and images as the dust cover.Front covers – ‘A Tale of Two Cities – A History of Modern Warrnambool’, ‘Gordon Forth’, ‘Halstead Press’ Spines – ‘A Tale of Two Cities – A History of Modern Warrnambool’, ‘Forth’, ‘Halstead’ Back Covers – ISBN number and code warrnambool, gordon forth, a history of modern warrnambool, a tale of two cities

Mr P L Phillips operated a general store in Liebig Street in the early part of the 20th Century. He was a highly regarded member of the community. He was community minded and promoted support for local industry, advertising his locally made or sourced products. He and his wife were involved in the Congregational church and music. He was mentioned in The Warrnambool Standard as arranging an Honour Roll for the Aboriginal soldiers who fought in WW1, with two losing their lives. The Nestle Company has been a long established business and major employer in Warrnambool (Dennington) since the early 20th century until it was purchased by Fonterra around 2000. The significance of this item lies in the connection of a large company with a strong presence in Warrnambool, and a small business combining to promote a patriotic theme which would have been very important in the days proceeding the First World War. Light white card with details enclosed within a light grey frame and text. Nestle Milk is in large text across the top, above a coloured picture depicting soldier and sailor in uniform in oval with kangaroo and emu in gold. A brown bulldog stands above in front of the Australian flag and on top of the Union Jack. Nestle product advertising is on both sides of this picture. Calendar details are at the bottom with P.L. Phillips & Co details in the centre. Metal strip along top and bottom.Cloth tag at top. Defence not Defiance at base of picture. Molly Wicking in black ink at bottom of calendar. With compliments P.L. Phillips & Co Grocers & P Liebig Street Warrnambool. Provision Merchants, Phone 237.warrnambool, p.l. phillips, grocer, provision merchant, nestle warrnambool, nestle dennington, calendar 1919

These gramophone needles were manufactured by The Gramophone Company Limited for use in gramophones that had an arm in which to insert a needle to play an old shellac record. The Gramophone Company was an early recording company based in the United Kingdom and was the parent organization for the His Master’s Voice label of recording devices. The company was founded in 1897 and merged in 1931 with another company to form E.M.I. (Electric and Musical Industries) but the name The Gramophone Company continued in Britain until the 1970s. Gramophones were a popular household item from the late 19th century until the mid 20th century when more sophisticated recording and playing devices were invented. These gramophone needles is of some interest as an example of entertainment devices of the past. It will be useful for display. .1This is a metal box with a lid containing an image of a dog and a phonograph (‘His Master’s Voice’) painted in white and brown on a dark blue background. Inside the tin are about 150 metal gramophone needles, most of them being a little rusted. The needles are covered with a sheet of brown paper with yellow printing. The tin itself is rusted and the printing is discoloured. There is a paper sticker on the back of the box with an early catalogue number (almost obliterated). .2 Small rectangular plastic container with picture of white polar bear with blue background. It contains approximately 30 needles which have red ends and silver points. .3 small plastic bag with a number of needles..1 Front of box: ‘His Master’s Voice, Extra Loud Tone’ Back of box: Approximately 200 English gramophone needles manufactured by The Gramophone Company Limited, Sydney, Australia’. Inside: ‘Use each point once only’ (printed twice). .2 50 semi- permanent needles on front of box. On bottom Made in Germany. gramophone needles, warrnambool, e.m.i., electric and musical industries

This book traces the one hundered years of the development of the Shire of Whittlesea, from the discovery by Hume and Hovell in 1824 to the time of the centenary in 1975. The intervening years saw the settlement of Vandemonians, Sydney-siders, English, Scots, Irish and Germans, Black Thursday, the building of the Yan Yean Reservoir, the Plenty River flour millls, the timber industry, fruit-growing and export and vineyards. Personalities and pubs, subdivisions, stories of the Findon Hunt Club and various Shires including Epping. History of education and transiton from rural to urban in the south of the Shire. The work is illustrated with maps and photographs. The Shire is now the City of Whittlesea and is an immediate neighbour to the north of the Shire of Nillumbik. shire of whittlesea

This item shows the excavation of the side of a railway track using a pneumatic shovel and a rail mounted truck by two workmen. The period covered was well before State Health and Safety requirements, such as helmets, became law. It also details that the workmen were from European heritage as their head coverings were a handkerchief knotted at each corner. This was typical for workmen of this heritage, others used caps or hats or no head covering at all (the macho male look)The photograph of this item was one of many depicting great achievements and opening up the region. A visual link or time capsule of the 1950s rural/mining sectors clashing with the established rural industriesThis photo depicts the time (1950's) and place (Bogong and Mount Beauty) where construction workers had an immense impact, not only on the physical environment but also on the social and economic development of the Victorian Alps region. The fast expansion of smaller settlements brought about increased pressures on the welfare viability of certain subgroups within the region e.g. farming, droving and commerce (caravan hawkers versus static shops). These changes brought about a heightened awareness by both local and State Governments to upgrade not only facilities within the region but also access to the region. Black and white photo of two workmen on a rail mounted shovel truck. The photo is of good definition allowing a clear view of the subject matter. The paper is semi gloss.On the back of the photo, paper suppliers etchings are "Kodak XtraLife II paper"mining, hydro electricity, victorian alps, construction camps, earth moving machines

A cast iron hook was made for lifting heavy loads in a marine or warehouse environment. The hook would be attached to the end of a chain or rope around a heavy load such as a pallet or container. The other end may have been joined to a pulley or crane for lifting and moving it around. The inscription on the hook shows the SWL or Safe Working Load as 3 Ton. The SWL was used in the industry for many years to rate safe loads but it is no longer used to identify the maximum capacity of equipment. In 2002 the Australian Standard AS 1418 for Cranes, Hoists and Winches changed, and the term Safe Work Load was changed to Rated Capacity, which was defined differently.The hook represents the equipment needed on a ship or at a port, railyard, transport depot or warehouse in the 19th and 20th centuries to move cargo and loads. The inscription of SWL on the hook is significant for its use as a guide for many years to work out the weight of the load the hook could safely hold. However, time and experience have led to a change in Australian Standards and the load is now measured by another formula that gives the load's Rated Capacity.Hook; large iron hook with a ring formed in the top. Inscription stamped into the metal and indicates that the Safe Working Load (SWL) for the hook to lift is 3 Ton.Marked "ani" "SWL 3TON"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, lifting hook, maritime equipment, lifting equipment, warehousing, cargo, loads, rigging, marine technology, swl, safe working load, 3 ton, rated capacity, load limit

The set consisted of a key battery and buzzer it was used for training potential radio operators in the Morse code. It was manufactured by blue point in the 1950s. The company was founded in the Sydney suburb of Erksville in 1936 by a German immigrant, Frederick Boyd Dirks who named his company F Dirks. The company produced Bakelite products such as ashtrays single strip heaters, and Morse key components, In 1946 the company named was changed to Blue Point products Pty Ltd. The name was inspired by the name “Blau Punkt” a German electrical supplier. in 1973 the company was purchased by Gerard Industries which was known for its line o Clipsal products, An item made in Australia for training purposes of new radio operators and is significant in that it is part of Australia's social history and shows the development of Australian electrical manufacturing. Australian blue point telegraph practice /training set XX20A circa 1950 Bakelite, stamped XX20A under, three terminals - two marked "+" and "-".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather shoe. Leather sole is black and the inner of the shoe is tan. Discolouration on the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Carpet samples created by Godfrey Hirst, a carpet mill whose history spans back to 1865 when the Victorian Woollen and Cloth Manufacturing Company began operations in Geelong and was purchased in the 1890s by the man Godfrey Hirst. Godfrey Hirst’s entrepreneurial skills and knowledge of the industry led to the great success which saw the company expand in multiple forms over the next century and a half. Today, thousands of metres of carpet are produced by Godfrey Hirst every day, and their flooring can be found in millions of homes. These 6 carpet samples date from the early 1990s and each have a unique colour pattern and design.Each carpet sample is made with a pile fibre that is 100% wool. The primary backing of the carpet is a woven polypropylene with a secondary backing a woven jute. Carpet 8102.1's colour name is Slate. It has a dark grey background with a red and blue diagonal stripe. The pattern repeats in a 10cm x 11.5cm block. Carpet 8102.2’s colour name is Terracotta. It is a mostly block pink colour with no repeating pattern. It has occasional flicks of grey. Carpet 8102.3’s colour name is Arctic Night. It has white, light blue and grey colours repeating one after another in a diagonal line. Carpet 8102.4’s colour name is Ivory. It has a brown background with a cream colour diamond. The pattern repeats in a 15cm x 15cm block. Carpet 8102.5’s colour name is Glenwood. It has a thin darker green and lighter green horizontal stripe spanning its entire width. These stripes repeat the height of the carpet. Carpet 8105.6’s colour name is also Ivory. It has a brown background with a cream colour leaf pattern. The pattern repeats in a 92cm x 92cm block.Wording on rear: Numerous. See Media.godfrey hirst, carpet, textile manufacture

Photo of Harry Tinson who was winemaker at Baileys in Glenrowan from 1968 until 1982. An ageing Alan Bailey (greatgrandson of founder Richard Bailey) sold the winery to Davis Consolidated Industries (mainly a gelatine producer). At the time Harry Tinson, with a Master’s degree in physical engineering, was in the corporate planning department of Davis. The board had decided it wished to diversify into wine production and Tinson was charged with the responsibility of finding a suitable target. He came up with Baileys, and was instructed to negotiate the purchase of a 50 per cent share in the business. Bailey said “all or nothing” ! (James Halliday – news article 22/01/2011)Colour transparency photograph of a man standing in front of a timber panelled wall, featuring an advertising poster for Baileys Bundarra Vineyardswineries, north east victoria, wine industry, baileys, winemaker

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained Glass at the St John of God Hospital Chapel .ballarat, heritage, st john of god, hospital, stained glass

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Colour photograph of stained glass feature wall at the chapel in St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, bruce hutton, almond glass works

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. stained glass, st john of god hospital, ballarat, bishop, pectoral cross

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Detail of a nun in stained glass window at St John of God Hospital, Ballarat.stained glass, st john of god hospital, ballarat, nun

Bruce Hutton of Almond Glass Works designed the stained glass window and did the hand painting for the Chapel in St John of God, Ballarat. Almond Glassworks was responsible for the overall construction and installation of the window. The concept was developed with the then head of mission, Maureen Waddington. The window was installed on the 30th of October 2019. Almond Glassworks was founded by Bruce Hutton in 1994. He completed a Fine Arts Degree (Chisholm Institute of Technology) majoring in stained glass in 1988, he then went on to work in the industry both in Australia, England and South Africa. He completed a Postgraduate (Monash University) in 1996, focusing on the conservation and restoration techniques of stained glass. Stained glass panel of 'Weeping Bailey's' house, now part of St John Of God Hospitalstained glass, st john of god hospital, ballarat, bailey's mansion, weeping bailey, architecture

K.G. Luke had a foundry in Queen's Parade, Melbourne which made badges and manufactured items for the Armed Forces during the First World War. He bought 40 acres of cherry orchard in Mitcham in 1952 from a Miss Cook, then went to England and attracted finance from Singer Brass Founders. The company became Luke and Singer. The three factories on site were Luke Manufacturing - stainless steel products and hospital equipment, Luke and Singer - a non-ferrous foundry producing components for industry such as nuts and cutlery, and Concentric Engineering - machinery components. Later the manufacture of refrigeration and air conditioning was added at the rear of the complex. A small aerial photograph and 2 A4 photocopies of the K.G.Luke Group of companies in 1959. The factory site is divided into three groups with Whitehorse Road situated at the bottom of the photo and Cook Road Mitcham to the left. Notes at ND6245luke manufacturing, k.g.luke group, luke and singer, concentric engineering, wheatland, vic, manufacturing industry, foundries, engineering industries

Richard Beck established a consultancy as an industrial designer in London in the 1930s, designing posters, booklets and advertisements for London Transport, Shell-Mex, Orient Line and the London GPO. His work was illustrated in Radio Times, Evening Standard and News Chronicle. His posters used montage and surrealist techniques, as in this example, reminiscent of E McKnight Kauffer who was prominent in commercial art in interwar England. The London Journal Art and Industry reproduced a number of Beck's posters for the Orient Line and London Transport and in 1938 Modern Publicity's annual round-up featured Beck's cover design and included a profile of his work.Brochure for London Transportgraphic design, mid-century modern, design

David Lancashire's Christmas promotion 'Hallelujah', designed for KW Doggett Fine Paper in 2009, is an example of one of the many innovations that Lancashire has contributed to the Australian paper industry. Considering the celestial aspects of Christmas and a favourite song - Leonard Cohen's 'Hallelujah' - Lancashire recalled a Wayang Kulit shadow puppet collected in Bali because of the way it interacted with light. Made from hide, the puppet was peppered with hand-punched holes to add intricate decorations to projected shadows. He adapted this concept to laser-etched paper and translated the fringed skirt of the puppet to die cut angel feathers. Jenny Grigg, 2017Greeting card and envelopechristmas, paper industry, design, graphic design, bali, puppets

This is the second volume of the history of the Shire of Heytesbury, written by Jack Fletcher. It covers the years 1921 to 1988. Hard cover book with dust cover, Photograph of bulldozer and ball and chain in Simpson Heytesbury Historical Park on front cover. Second book of 2 written by author of History of Heytebury District. First book is The Infiltrators, 1840-1920. See 44, 45. Both books SIGNIFICANT in the local history of the area and the events and people that formed this history. 648 pages. Index to surnames of people referred to in this history. Some black and white photographs. With reference to Cobden, Simpson, Simpson, Port Campbell, Industry, Health, Education, Sport, Churches. A hardcover tan leather book with gold lettering on the cover. Dustcover with photograph of Heytesbury Project Historical Park, Simpson. Contents and Index pages, black and white photographs, map of Heytesbury shire inside front cover. 648 pages.heytesbury shire - history, local government

Published for the staff of the SEC, features the Kiewa Valley transmission line, North East towns and workers, industry, Bendigo Tram's Golden Jubilee, (AETA Visit, Mr George Laurens, Doug Dean, Tom Lynch and Basil Miller), electrical safety, meter reading in the country, sports, electric cooking, and sports section. In the retirements were Mr P Pithie, Senior Traffic Inspector Geelong, Mr V Pipps Depot Foreman Geelong and Mr S Watson, Geelong Senior depot clerk. On the inside cover are photos of the package power stations being installed at Geelong, Ballarat (Ballarat B) and Mildura.Demonstrates a SECV Staff magazine.Magazine, 36 pages, black and white production, centre stapled.Has RHSV stamp on the cover and "Case ViiiA" in inktramways, geelong, secv, retirements, ballarat b power station, power stations, bendigo

Appears as an illustration in, "Green Grows Our Garden," A.P. Winzenried p96 with the caption, "Sojourns provided students with the opportunity to broaden their experience: here they are examining furrow irrigation, probably at Tatura Research Station, 1960." Note by T.H. Kneen 8 July 1992, "It is worth noting that the sojourns at Mildura & Tatura were incorporated into the training programme to utilize the Department of Agriculture resources at these centres. The College was also expected to use the resources of the Scoresby H.R.S. The sojourns at M & T were initially of 2 weeks duration. The purpose of the the sojourns was to strengthen the fruit (and vegetable) industry components of the new Diploma course established 1958."Colour photograph. Sojourn at Tatura Research Station. 4 students walking through an orchard examining furrow irrigation.On reverse, "Kodak Colour Print June 1960."green grows our garden, a.p. winzenried, sojourns, students, tatura research station, diploma, department of agriculture, student outside class, furrow irrigation

Ernest Morton Vains (1881 - 1951) was a local business man and Bendigo councillor who arrived in Bendigo in 1897 aged 16 from Kerang. In 1916 he founded the firm E M Vains and Co with his brother Sidney and they operated from Hargreaves Street in Bendigo with branches in Elmore, Mitiamo, Dingee, Knowsley, Heathcote and Prairie. E. M. Vains was a member of the City Council from 1922 - 1926 and was elected Mayor on August 29th, 1924. He played a prominent role in many of the City's community and industry groups and was a member of the Rotary Club which was founded in 1925 and a member of the Corona Lodge of Freemasons. Single page invoice from E.M. Vains and Co Auctioneers, Stock and Station Agents Bendigo. Letterhead features the unique R M Vains & Co logo with a bulls head, printed in royal blue ink.city of bendigo mayor, mayor vains, city of greater bendigo commerce, making a nation exhibition, mayoress vains, freemason

This image is one from a series of portraits taken by Rob Elliott to record the character of the Border District through the faces if its identities. Ronald Joseph Hoban was born in 1930. In 1951, Mr Hoban, or "Hobie" as he became known, opened his hairdresser and tobacconist business in Corryong. This was at the height of the construction of the Snowy Mountains Scheme and business was thriving. As the tobacco industry slowed down, Mr. Hoban branched out to selling sporting equipment with a focus on fishing tackle and even selling guns and ammunition when it was legal to do so. He was an active and much-loved member of the Corryong community until his death in November 2014. This portrait is significant as it depicts a person who made a significant contribution to community of Corryong and district. The business he established still operates as Hobie’s Sports Store.A black and white photo of a man standing behind a barber's chair, scissors in hand. He has glasses pushed up on his forehead. Tobacco products are stored on the shelves in the background.ron hoban, corryong barber, people of the border

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment