Showing 4752 items
matching dream-like
-
Tarnagulla History Archive
Night Book of the Tarnagulla Loyal Garibaldi Lodge (1922-1932), 1922-1932
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Night Book of the Tarnagulla Loyal Garibaldi Lodge, December 1922 to June 1932.lodge, fraternal organisations -
Tarnagulla History Archive
Contribution ledger of the Tarnagulla Loyal Garibaldi Lodge (1887-1899), 1887-1899
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Contribution ledger of the Tarnagulla Loyal Garibaldi Lodge from June 1887 to December 1899.lodge, fraternal organisations -
Tarnagulla History Archive
Receipt/Facsimile Book, Tarnagulla Loyal Garibaldi Lodge (1927-1930), 1927-1930
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Receipt/Facsimile Book for Member Contributions, Tarnagulla Loyal Garibaldi Lodge from March 1927 to March 1930.lodge, fraternal organisations -
Tarnagulla History Archive
Receipt/Facsimile Book, Tarnagulla Loyal Garibaldi Lodge (1930-1935), 1930-1935
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Receipt/Facsimile Book for Member Contributions, Tarnagulla Loyal Garibaldi Lodge from March 1930 to May 1935.lodge, fraternal organisations -
Tarnagulla History Archive
Receipt/Facsimile Book, Tarnagulla Loyal Garibaldi Lodge (1936-1937), 1936-1937
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Receipt/Facsimile Book for Member Contributions, Tarnagulla Loyal Garibaldi Lodge from March 1936 to April 1937.lodge, fraternal organisations -
Tarnagulla History Archive
Member Register of the Tarnagulla Loyal Garibaldi Lodge (1861-1870), 1861-1870
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Extremely significant record of the first European settlers in the town of Tarnagulla, data including names, ages, occupations and spouses.Member Register, Tarnagulla Loyal Garibaldi Lodge from 1861 to 1870. Notes names, ages, occupations and spouses.lodge, fraternal organisations -
Tarnagulla History Archive
Lodge Bye-Laws booklet
The Manchester Unity Independent Order Of Oddfellows was a friendly society beginning in England in 1840, and provided medical and other services to communities. MUIOOF became strong in gold-rush Australia, with many branches, or lodges, in country centres. Tarnagulla's Loyal Garibaldi Lodge was registered on 21 September 1861, and remained a vital part of the community for many decades. Like other Lodges, this fraternal organisation provided unemployment, sickness and funeral insurance for workers. It played an important civic role by providing financial security, a social outlet and an avenue for status advancement. By the last twenty years of the 19th century, Lodge activity was an important part of community life.Lodge Bye-Laws booklet used at Tarnagulla Loyal Garibaldi Lodge.lodge, fraternal organisations -
Unions Ballarat
Why You Should be a Socialist, Strachey, John, 1938
The book describes itself as a "terse guide to such questions as, what causes unemployment, what causes war, what makes booms and slumps, what is socialism [and] what is capitalism." Book index: I. The Secret in the Pay Envelope II. How the System Works III. What They Get Out of It IV. What It has Done to Us V. Why It Stops Working VI. Must we Die for It? VII. What can we Put in its Place? VIII. "I have Seen the Future, and It Works" IX. What would Socialism be like Here? X. How to Get There Written and produced in Britain 1938. Pertinent Britain's economy and work force in the 1930s. Observations about wages and employment.Softcover book. Front cover: black and white background, red, white and black lettering. Back cover: white background; black lettering.Front cover: title and author's name. Back cover: advertisement for the Left Book Club, London; International Bookshop Pty Ltd stamp.btlc, ballarat regional trades and labour council, ballarat trades hall, socialism, politics and government, unemployment, war, economy, capitalism, wages -
Phillip Island and District Historical Society Inc.
Photograph, J D Payens, Aerial photo of Grand prix track and painting of 1932 Grand Prix
The Circuit was built in the 1950's and opened in 1956. The circuit was closed in 1962 due to lack of finance for repair work to the track. In 1964 Len Lukey purchased the cirtuit and reopened in 1967, but once again was closed in 1978 as not suitable for modern racing. It was used only for Historic Rallies and the like until 1982. In 1985 The Circuit was purchsed by Placetac Pty Ltd. The Circuit was refurbished in 1988. In 1989 The Australian Motorcycle Grand Prix - 1st World Championship Round - was held at the Circuit on 9th April. 2004 the Circuit and surrounding land was purchased by The Linfox Group who still own it to this day (8/10/2016).Black & White aerial view of the Phillip Island Grand Prix Race Track with Bass Strait in the background and painting of 1932 Grand PrixJ. D. Payne - Commercial Photographer, Rice Street, Moorabbin. Phone: XL 3144phillip island g p circuit, grand prix circuit phillip island, len lukey, linfox group, jean parle, bill thompson, keith riordan, bugatti, 1932 grand prix -
Forests Commission Retired Personnel Association (FCRPA)
Radio set
After the 1939 bushfires, the Forests Commission invested heavily in a radically new communications network. After suffering some inevitable delays due to the War, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. The communication systems were regarded at the time to be more technically advanced than the police and the military. These pioneering efforts were directed by Geoff Weste, and later technical experts like Rex Philpot, John Whitehead, Charlie Reisinger and many others who designed, built and repaired most of the radio equipment. There was a dedicated radio laboratory at Surrey Hills in Melbourne.Radio setManufactured by McLeod Electric - Derrinallumradios -
Forests Commission Retired Personnel Association (FCRPA)
Radio set, STC Star Radio Telephone
After the 1939 bushfires, the Forests Commission invested heavily in a radically new communications network. After suffering some inevitable delays due to the War, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. The communication systems were regarded at the time to be more technically advanced than the police and the military. These pioneering efforts were directed by Geoff Weste, and later technical experts like Rex Philpot, John Whitehead, Charlie Reisinger and many others who designed, built and repaired most of the radio equipment. There was a dedicated radio laboratory at Surrey Hills in Melbourne.Radio setSTC Star Radio Telephone Type FR5.1.25-STradios -
The Beechworth Burke Museum
Animal specimen - Rainbow Bee-Eater, Trustees of the Australian Museum, 1860-1880
The Rainbow Bee-Eater is native to Australia, living across the mainland, except in desert areas. Male and female birds are both brightly coloured, the primary difference being the length of their tail streamers. Male Bee-Eaters have longer streamers than the females. They are insectivores and use techniques to remove threats to themselves; eg. they will remove wasp's stingers to avoid the poison. They nest in sand and dig a long tunnel, at the end is a 'chamber' where they lay the eggs. 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. The Rainbow Bee-Eater is a uniquely beautiful species of bird with strikingly bright colouring. The plumage is green, blue, chestnut and yellow. The build of this specimen is small and graceful and the bill is slender and curved. This Bee-Eater has two distinct streamers that extend from the base of the tail. The glass eyes provided to this specimen are dark black in colour; however, in life, this specimen has red eyes which contrast with the black stripe of colour that is located from the base of the bill to the ears. Below the black stripe, is a smaller pale blue colour. The throat is orange-yellow and the breast is green. The tail is black with a blue tinge to the plumage closer to the rear of the torso. The colouring on this particular specimen has faded significantly, but it provides a good example of what this specimen looked like while alive.Label: 5a / Australian Bee-Eater / See catalogue page 7 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, rainbow bee-eater -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "View of Fernhurst Home Taken from Street / 10"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst from higher ground level side shot / 7"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Back view of Fernhurst / 8"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst front view taken from across Fernhurst Grove / 6"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Front view of Fernhurst showing tower to advantage / 9"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Kew Historical Society Inc
Photograph - 'Fernhurst', 13 Fernhurst Grove, 1978
George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst corner shot through trees / 12-22"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind -
Flagstaff Hill Maritime Museum and Village
Print - Religious Print, Reinthal & Newman, Jesus Chrisus, after 1874
Picture is a print of an original drawing that appears to have been created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner). The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The picture is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Max.Picture; print of a drawing. Representation of Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, drawn in 1874 by 19th century artist Gab. Max (Gabriel Max). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has 2 small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire but this has been replaced. Part of the St Nicholas Seamen's Church CollectionFRONT: Top left :1874” Top rignt “GAB MAX” Hand written script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, Big Tree, Guildford, Victoria, 2017, 16/07/2017
The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A number of colour photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tres is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, Clare Gervasoni and Ann Gervasoni at the Guildford Big Tree, 2017, 16/07/2017
The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tre-es is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, Ann Gervasoni at the Guildford Big Tree, 2017, 16/07/2017
The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tre-es is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum -
Melbourne Tram Museum
Photograph - Black and White photograph, c1951
Black and white photographs, of 15 men around a SW6 fitted with dash canopy lighting. In an e-mail from Mal Rowe dated 2/9/2019, he advises "If it is Essendon (and that looks right) especially noting that 454 (in the background) was allocated to Essendon at that time, so Essendon is pretty certain. The tram is most likely 927 - the only dash canopy SW6 with a number including 2 allocated to Essendon in the period. Geoff Warburton's tables say the three holes were cut in 927's dash in Nov 1951 and the it was converted to headlights in December 1951! As you say, looks like MMTB staff - in the pit in their suits! It's a long shot, but is the guy with his hand on the bumper on the opposite side to the number possibly Frank Kirby?""On rear in ink "About 1953 @ Essendon Depot"trams, tramways, dash canopy lights, essendon depot, engineers, tram 927 -
Bendigo Historical Society Inc.
Sculpture - VAHLAND BUST
Bust of William Charles Vahland, architect (1828 - 1915) Donated to the BHS by B. Melrose, Masonic Hall, Bendigo. Letter from BHS to B. Melrose ' We would like to thank your committee through you for their generous offer - that the W.C. Vahland plaster bust remain with this Society for permanent display at Dudley House. We shall see to it that a plaque with suitable wording giving origin, history and date of acquisition is prepared. When this is ready, we shall advise you further. This piece of art work by the celebrated Otto Waschatz is of very great historic interest and we are extremely happy to have it in our care' R.A. Anderson, President, RHSV Bendigo. dated 15 December 1977. Bust is on permanent loan to Masonic Hall, McIvor Road, Bendigo.person, bendigo, william charles vahland -
Bendigo Historical Society Inc.
Photograph - GERTRUDE PERRY COLLECTION: PHOTOGRAPHS - KATENKA, 1956
Photographs. Gertrude Perry Collection. 3 black & white photographs. 2 are full length photos of a lady dressed in a white dress with dark shoes and handbag. She is wearing a small hat with a bow on the top. She is also wearing a long necklace. Behind her is a wicker basket and bunches of flowers. On the back is written Mrs Helen Hopper Katenka 1956. However, this image looks like Gertrude Perry. The second photo is of the same lady with a gentleman dressed in white trousers, shirt and hat with a dark jacket and shoes. He is also wearing a bow tie and glasses and has a cigar in his mouth. The photographs are in an envelope with No 122 on the top left edge. On the front Oklahoma has been crossed out. Addressed to Miss G Perry Katenka.photograph, person, gertrude perry, gertrude perry collection, mrs helen hopper, mr hopper, katenka. -
The Beechworth Burke Museum
Ceremonial object - Ushabti of Taweret-Khaiti, Circa 1292 BC
Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt -
The Beechworth Burke Museum
Postcard
Depicted is a handwritten note written by Thomas "Tom" Lacey. It is addressed to his sister, Maude. This letter accompanies a portrait of Tom dressed in an Australian army uniform (record number 3417.1). Tom was a resident of Beechworth, and was only nineteen years old when he fought in World War I.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when Britain and Germany went to war on 4 August 1914. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 9 November 1914, the Royal Australian Navy made a major contribution when HMAS Sydney destroyed the German raider SMS Emden. On 25 April 1915, members of the Australian Imperial Force (AIF) landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This began a campaign that ended with an evacuation of allied troops beginning in December 1915. The next year, Australian forces fought campaigns on the Western Front and in the Middle East. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on paper.Obverse: My Dear Sister / I will / write / you / a long / letter / next / week / CARTE POSTALE / Just a line / in (?) to your letter / which I received two / days ago. I suppose you / used to wonder why I / never wrote but it is / pretty hard to get / writting paper at / (?). Well maud / I suppose you heard / about me getting around / I was shot through the / both legs but my poor / old mate got killed / straight out. I tell you / I do miss him. / I am glad you like / your new place. / Do you ever see Mary Y(?) / I had not had a letter / from her for 3 months / I have had a good / rest since I came out / of hospital I have been to / Cairo twice. Do you ever / get any letters from Dave / (?) him to drop me a / line some of these days / Well Maud I would like / to spend next XMAS with / you but that not my luck / this is all the new good by Tom /military album, beechworth, tom lacey, army, world war i, wwi, letter, thomas lacey -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Containers, paper packet toothpicks 'Peacock', Peacock brand China, mid 20thC
A toothpick is a small stick of wood, plastic, bamboo, metal, bone or other substance used to remove detritus from the teeth, usually after a meal. A toothpick usually has one or two sharp ends to insert between teeth. They can come in both wood and plastic, and can also be used for picking up small appetizers (like cheese cubes or olives) or as a cocktail stick. Toothpicks are well known in all cultures. Before the toothbrush was invented, teeth were cleaned with hard and soft dental woods. The first toothpick-manufacturing machine was developed in 1869, by Marc Signorello. Another was patented in 1872, by Silas Noble and J. P. Cooley A small paper packet containing wooden toothpicksTRADE $ MARK / DOLLAR BRAND / STERILIZED / TOOTHPICKS / (chinese characters) / MADE OF BEST / WHITE BIRCH / QUALITY & PURITY / GUARANTEED / TRY ONCE USE / THEM FOREVER. wood, toothpicks, dental cleaning, dentists, timber, birch trees, signorello marc, noble silas, cooley j. p. , moorabbin bentleigh cheltenham, maret gardeners, early settlers, -
Federation University Historical Collection
Costume, Ballarat Teachers' College Blazer, c1950
This blazer was worn by Joyce Murphy at the Ballarat Teacher's College. David van Leeuwen decided not to have a blazer as he was older, and thought it too much like school days. He attended the Ballarat Teachers' College when 27 years, after serving in the army. Because he didn’t have a blazer he didn’t have anywhere to put the colours so he offered them to Joyce Murphy as they were going out together. There should have been a football embroidery as well, but Joyce Murphy didn’t want that on her blazer because it was too boyish. Gift of Joyce van Leeuwen nee Joyce Murphy, 2014A blue woollen blazer with pocket featuring the Ballarat Teachers' College logo, sports colours, and representation in tennis, basketball and hockey. The pocket is a dual one. Joyce van Leeuwen remembers: 'Towards the end of our College year, were were given written authorisation denoting our sporting teams, to take to Paterson & Powell for embroidery on our blazer pockets. On my pocket, the hockey sticks, the BB for basketball, as netball was then called, all mine. The tennis racquet is David's [van Leeuwen], as is the braid topping the pocket denoting the College colours. College colours were authorised for excellence in a chosen sport, and in our year, 1950, only two men's colours were awarded - David's for basketball and Neil Trezise's for football. Neil went on to play for the Geelong Cats [AFL football] and later was Victorian minister for Sport for some time.'ballarat teachers' college, blazer, joyce murphy, joyce van leeuwen, paterson powell, colours, embroidery, david van leeuwen, van leeuwen, costume, uniform, textiles -
Supreme Court of Victoria Library
Portrait, Sir Robert Molesworth
The portrait was commissioned in 1884, near the end of Molesworth's term of office. The portrait was commissioned at the same time as those of Redmond Barry and Chief Justice Stawell. Robert Molesworth, like his contemporaries, Stawell and Barry, went to Trinity College, Dublin, and practiced at the Irish Bar before migrating to Australia in 1852. Molesworth quickly gained a large practice at the Bar. In 1853 he was acting Chief Justice and he later served as Solicitor-General in the early Victorian colonial administrations. Molesworth was appointed to the bench in 1856. He primarily worked in the Equity area, but his main contribution to Colonial administration was as the Chief Judge of the Court of Mines, establishing the basis of mining law in Australia.The portrait of Molesworth is significant because of whom it portrays and is the only known portrait of Molesworth.Full length portrait in oils of Sir Robert Molesworth. He is seated at a desk and dressed in Judicial robes. The frame is of 20th century originSigned with monogram and dated 1885 lower left. Plaque identifies sitter as The Hon. Sir Robert Molesworth Judge of the Supreme Court. 1856-1886courts, molesworth robert, a beckett edward