The history of gold mining at Mount William and MafekingWhite light card/ Thick Paper. with black line drawing of a home in the foreground and a mountain range in the background, print above and below the drawing. With Black plastic combe bindingTitle: Golden Days of Mount William Mafeking Centenary Celebrations June 1900 : June 2000stawell mining

Gold mining in the Mafeking and Mount Willaim AreasWhite Paper cover with Printed title and other information. Staple in top left cornerArarat & District Historical Society Mafeking And Mount William Gold Rush Produced During Shire of Ararat Centenary Week March 1964 Price $1.50 Langi Morgala Museum Araratstawell mining

John Neeson is a Postwar & Contemporary painter who was born in 1948. Numerous key galleries and museums such as Hill Smith Gallery have featured John Neeson's work in the past.Abstract composition in two panels. Left panel shows areas of three shades of grey. Right panel shows areas of grey, red and yellow. The centre image connects both panels with a triangular shape with red patterning, giving an appearance of flame and embers. Mounted in grey matt. In grey wooden frame with glass.Front: 1/25 (lower left) 73 (centre) John Neeson (lower right) (pencil) Back: (no inscriptions)

NoneSeveral plate print. Background images are embossed, showing clouds and abstract water patterns. At centre left is an embossed women's head in profile. Central image is a man in what appears to be a monkey skin. He has a cap on his head and is spinning a barrel-shaped object with the fingers of his right hand. Below him is a light brown etching of grass. Below the grass is a blue etching of water ripples. Mounted in cream matt with blue edging. Wooden frame with glass.Front: "Clouds" 26/65 (centre left) D. Higgins '75 (centre right) (pencil) Back: (no inscriptions)

Port of Portland Collection.Depiction of a boat with furled sails on choppy waters, sailing towards land. The landscape includes a hill and several buildings, including a wind mill and a church spire. Mounted in cream matt. Framed under glass in wooden frame.Front: Belfast Port Fairy (lower centre) (printed). Published by Sands & Kenny, Melbourne & Sydney 1857. Back: 19 Upper left pencil. 1996 upper right pencil.port fairy, belfast, landscape, drawing, print, coastal, 1800s

Prepared by Preston Workshops staff, in the Truck Shop, to show the electrical apparatus line diagrams for testing of motors in a bogie or truck.Demonstrates the equipment used to test tramcar bogies or trucks prior to fitting to a tramcar.Drawing - dyeline print taped and edged to a piece of masonite. Has two screw holes for mounting on either side.trams, tramcars, bogies, trucks, truck shop, preston workshops, electrical engineering, electrical equipment

Photo of Geelong Pengelley No. 16 in Pakington St. Geelong at the junction with the Newtown line. Tram is coming from Chilwell and has the destination of Station. Tracks from Newtown at bottom of photograph. Photo by Hugh Ballment, 25-5-1954. See item 9583 for a print of this image.Yields information about Geelong No. 3 in 1954.Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide."G 13" and "1 -13" in pencil.tramways, trams, geelong, pakington st, chilwell, tram 16

CEMA Art collection Winner of 1966 Portland Artists Society Art Prize for the category of Any other mediumThis print depicts a large fish completed in black and brown on a pink background. The fish is portrayed from a side view and has a large body, small tail and blue eye. Predominately pink, the background features smaller areas of black, purple and brown. The work has a natural wood frame with grey mount and glass.Front: TROPICAL FISH (2) 4/10 LT (orange paint, lower left) LESBIA THORPE__________________.(along bottom, pencil) Back: TROPICAL FISH No 2 ) LESBIA THORPE ) FLAT 5 10 FORDHAM AVE )Handwritten, black ink CAMBERWELL VIC ) $23 unframed ) Typed: LESBIA THORPE "TROPICAL FISH No.2" (1966) Yellow sticker: 1966 Red sticker: 10cema, portland artists society, femal artists, female artist, fish

UnknownAbstract print. Yellow underlayer with brown layer of ink on top. Darker pigmentation towards the centre of the print. At the top right and bottom centre there are two thin crosses. The entire surface is thickly built up, creating an undulating surface to the image with variation in pigmentation. Mounted in cream matt. Framed in natural wood frame with perspex glazing.Front: Robert Grieve (lower left) Composition (centre) 4-10 73 (lower right) (pencil)

CEMA Art Collection Previously located in History HouseThe print depicts a natural landscape with a large classical style building (Menin Gate, Belgium) to the left. In the foreground are hundreds of ghostly figures of soldiers. The background appears to be a distant view of a town with several lights visible. The work is completed in various shades of blue and green. Mounted with brown card the work is framed in a black and gold frame, and has an exposed canvas.Front: Lower Right: Will LONGSTAFF 1927 Brass embossed plate:MENIN GATE AT MIDNIGHT BY WILL LONGSTAFF, PRESENTED TO THE COMMONWEALTH GOVERNMENT OF AUSTRALIA, BY LORD WOOLAVINGTON. COPYRIGHT RESERVED Back: (No inscriptions)

Photo of the body of ESCo No. 3 in Cobden St, Mt Pleasant 12-1-1946. Has the details on the rear of the photograph. This tram began its life as a Sydney C class electric tram, possibly No. 14. It was scrapped in 1935. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negativeYields information the condition in 1946 of an old ESCo Tram body that was sold.Digital image from the Wal Jack Ballarat Album.on rear in ink "SEC / Ballarat / Old No. 3 original electric (body) Mount Pleasant / 12-1-46" and the Wal Jack stamp with "T102"trams, tramways, esco, scrapped trams, tram 3

The Department of Transport produced the Melbourne " Next Generation" G class tram badge to thank the team members involved in its design and production. As many of the team members came from Germany, the German translation was included on both sides of the card. Note from one of the production team was: "Staff from the Department of Transport and Planning – Next Generation Trams project team led a self-funded initiative to produce a commemorative badge of the Melbourne " Next Generation" G class tram. These were issued as gifts to persons involved in its design and production to mark the start of series manufacturing. The card it is mounted to is typeset in the proprietary “Network Sans” font, in both Australian English and Austrian German; including a special translated version of the Next Generation Trams Project logo. This was a gesture to recognise several key Alstom staff involved in the project being loaned from Vienna.”Demonstrates a badge featuring the Melbourne G class.Metal enamel badge with pin retaining clip attached to a printed card sheet.tramways, tramcars, g class, badge, new tramcars, alstom

BHS CollectionWatercolour painting of Golden Square area, framed in gold timber frame with cream mount. Painting shows poppet heads and mining chimneys in foreground, housing in background. Pasted on back of frame is copy of print showing names of some of the mines. From left to right: Lazarus Mine, Lily Street; George Lansell's 222, Chum Street; New Chum Railway Mine (one of the deepest). Names presumably written by John Hall, artist.John Hallbendigo, mining, golden square

An abstract figure lies horizontally in the centre of flat and patterned fields of colour. The figure comprises of white, blue and burgundy. The colours in the background comprise of layers of green, blue, dark rose and dark green, which combine to make fields of maroon, aqua, dark green and textured dark blue. Mounted in brown matt, framed in silver painted wooden frame, with red undercoat showing through areas of wear.Front: J Courier (lower left) Reclining figure (lower right) (pencil). Back: Artist J Courier 368 Toorak Rd Sth Yarra. Title: Reclining figure. Price $90 framed, $70 un-framed.abstract, figure, print, nude

UnknownTrident form, blue and green patterning on a grey base. Below the trident are three circles of gold, with a black horizontal line underneath these. The background is pale blue with darker blue lines providing a textured appearance. Mounted in faun matt and gold frame.Front: Series VI/5 (lower left) Symbol derDreifealtigkeit (lower centre) K. Zimmer 70 (lower right) (pencil) Back: (no inscriptions)stencil

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

PART OF ORIGINAL DAM OF MR. HARRIS' MARKET GARDEN, SUTHERLAND STREET, CLUNES. OWNED BY HOLMANS PRIOR TO HARRIS..1 ORIGINAL MOUNTED SEPIA PHOTOGRAPH OF HARRIS MARKET GARDEN AND DAM - SEBASTOPOL GARDENS .2 COPY OF THIS IMAGE PRINTED FROM NEGATIVE ON PHOTO PAPER .3 POOR QUALITY COPY ON PHOTO PAPERPART OF ORIGINAL DAM - WAS HOLMAN'S PRIOR TO HARRISlocal history, photography, photographs, harris family

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Colour drawings of flowering stem and detailed leaf and flower views. The largest stem view depicts thin woody stem with small fine green leaves along length of stem. Branching stems at top end in clusters of buds or small orange and yellow pea flowers. At centre left are 3 details of leaves (front, rear and end views). On right are (t-b): top view of yellow pea flower; side view (orange and yellow); rear view (orange) with sepals; sepal detail; side view in full bloom. All views are numbered in pencil and printed on white paper affixed to image surface. Mounted in double matt (white on faun), under glass in wooden frame with gold detail.Front: Pultenaea sub-umbellata (lower right) (pencil). CEW (signature, lower centre in image) (maroon pencil). Back: 37 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema

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

Art Collection. William Anderson is an Australian printer and sculptor. He was born in Scotland in 1951.The painting depicts a white background with a dark circle in the centre. In this dark circle are white-outlined circles and lines, as well as cogs and mechanical parts. These parts vary in shades of grey. The frame is dark timber with a white mount and glass covered.Front: 7/18 Visual Diagram of a Clock William Anderson 69' (Starting from lower left side of clock, progressing to right, lead pencil.) Back: (no inscriptions)

Nancy Malseed was born in Victoria in 1913. She was a printmaker and artist.Three separate images of birds. Top image is six large abstract birds with 12 birds in background (upper centre). Centre panel contains 3 birds in flight, brown against a grey background. Lower panel contains 3 walking birds, black and white against a brown background. Mounted in a dark green matt, in a black wooden frame with glass glazing.Front: 3/20 Etching and roll-up (lower left) "Bird Trip (centre) N. M. Malseed (lower right) (pencil) Back: (no inscriptions)female artist, female artists, women, malseed, 1970s

Allan McKinnon donated this photograph from the school, where it had hung for some time. It was donated because of fear of it possibly being thrown out. It is mounted on particle board, and has a string on the back for hanging.Print of photograph pasted onto particle board, which shows a large group of schoolboys standing at attention, parading in the school yard, with trees behind; boy at right with drum, others holding fife in left hand; most boys are wearing caps or hats. Picket fence in background.linton state school no. 880, linton fife and drum band, les dawe, neil wishart, cyril ryan, roger o'beirne, arthur cox, george mcdonald, alan mcdonald, clem o'beirne, perc jennings, fred jennings, laurie brown, neville sandow, mr h. b. williamson (head teacher 1911-1913), vic ryan, bennie nicol, alec mcbeath, ray nicholls, frank o'beirne, roy commons, chris stratton, eric nicholls, harry jennings, perc wishart, arch white (drum)

BHS CollectionBlack and white photo of the squared oregon poppet legs , braces, wooden cage framework, guides for the skids and safety clamps of the cages of the Hercules Mine. Beside the photo is a printed description of the photo. In the bottom right corner is a printed description titled Interior of a Mine Battery. Written above it is Kocks Pioneer. Inside View of Kock's Battery. There is no photo. Descriptions and photo are mounted on pale blue paper which is then mounted on brown card and laminated.bendigo, history, long gully history group, the long gully history group - hercules mine & inside view of kock's battery, sheepshead line of reef, kock's pioneer, lincoln mine, lansell's big blue battery, quartz hill, whiffly tables, the chinese

Menu printed for the 1965 Golden Jubilee of the SHC Old Collegians' Association DinnerSmall printed menu produced for the 1965 Golden Jubilee dinner for the SHC Old Collegians' Associationold collegians, sisters of mercy, catholic education, ballarat

PHOTOGRAPH OF BUILDINGS IN FRASER STREET CLUNES..1 ORIGINAL SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD OF J.W. PRESTONS CLUB HOTEL, E.S.A BANK AND STATE SAVINGS BANK. ALL TWO STOREY BUILDINGS IN FRASER STREET, CLUNES. .2 BLACK AND WHITE COPY OF ABOVE MOUNTED ON CARDBOARD .3 BLACK AND WHITE COPY OF ABOVE PRINTED ON MATTE PHOTOGRAPHIC PAPERCLUB HOTEL - FRASER ST. CLUNES - BUILT 1870local history, photography, photographs, hotels, club & buildings in fraser street

Set of 2 slides made from the Association of Railway Enthusiast Provincial Tramways film strip, possibly during April 1967. 1191.1 - No. 6 heading for North Bendigo in Bridge St., just past the disused Bridge St. Loop. See item 9449 for a print of this photo. 1191.2 - Bendigo 16 and 17 in the depot. Photo taken inside the building. No. 16 showing Thorpe St., 17 - Depot.1191.1 - "No. 6 passes the disused Bridge St. loop on its path to North Bendigo" - dated with a hand stamp in purple ink "Apr 1967". 1191.2 - "No. 16 and 17 at rear of Bendigo Depot". - slide not dated - late 60's or early 70's. Details are in blue ink written onto slide mount.tramways, trams, north bendigo, bendigo, bridge st loop, depot, tram 6, tram 16, tram 17

Note by T.H. Kneen 13 May1992, "The Burnley display was part of the Division of Agricultural Education's display covering Dookie, Longerenong and Burnley. Reference to Rural Training in 1957 would have been mainly to the on-farm training phase of the Rural Reconstruction Training Scheme. The Agricultural Collegians Association members had a meeting point at the exhibit. Burnley ex-students were not members of that association."Black and white photograph. Display mounted by Burnley Gardens School of Horticulture at the Royal Agricultural Show 1957. Incorporates photographs of College activities, horticultural information and a map of Victoria locating institutes offering rural training to ex-servicemen.On reverse, "Royal Show 1957."burnley gardens, school of horticulture, royal agricultural show, dookie college, rural training, rural reconstruction training scheme, the agricultural collegians association, horticulture, publicity, dept of agriculture education division, longerenong college