Produced for Enola Gay's participation in Hiroshima Day, Sat 6 August 1983, assembling at Belmore Park at 10 am under the Enola Gay banners. 0:00: Introduction and song; 3:50: Japanese instrumental music; 9:08: Commentary resumes - history of the bombing of Hiroshima, 6 Aug 1945, and Nagasaki 3 days later; 15:30: Music Tomorrow never comes until it's too late; 19:45: Commentary including accounts from survivors; 26:58: Music, Take the toys from the boys; 29:25: Commentary regarding arms race, including voice of Fabian LoSchiavo regarding dissident religious views in the USA; 33:05: Music, California dreaming; 36:10: Commentary re the practicalities of bomb shelters; 38:00: Music, Cancer, cancer; 41:40: Commentary re peace marches in Europe, health effects of radiation, civil defense in nuclear war, music; 47:35: Music, Universal soldier (cut off towards end), anti-war parody of Yankee Doodle Uncle Sam with Australian refs (Omega, Pine Gap etc); 59:10: Commentary regarding nuclear bomb testing at Marilinga (SA) and Monte Bello islands; 1:01:15: Music, 'But I aint a marchin' any more'; 1:04:05: Commentary re costs of arms race - refs to gay and feminist anti-war groups overseas; 1:05:58: Music, Down by the riverside/Aint gonna study war no more, promo for Enola Gay and prep for Hiroshima Day, instrumental music, music US forces (Midnight Oil), Soft touch (Poison Girls); 1:26:56: Music, Thank Christ for the bomb, eerie instrumental music, Maralinga (Midnight Oil), Not another bomb song, ending at 1:39:00.Maxwell UD XL I - C90 cassette tapeInscribed in biro on label: "ENOLA GAY Disarmament Special - Gaywaves 2SER 4/8/83."anti-nuclear activism, gay and lesbian activism, hiroshima day

The development of stereoscopic photography views or stereographs was immensely popular in the United States and Europe from about the mid-1850s through the early years of the 20th century. First described in 1832 by English physicist Sir Charles Wheatstone, stereoscopy was improved by Sir David Brewster in 1849. The production of the stereograph entailed making two images of the same subject, usually with a camera with two lenses placed 6 cm apart to simulate the position of the human eyes, and then mounting the positive prints side by side laterally on a stiff backing. Brewster devised a stereoscope through which the finished stereograph could be viewed; the stereoscope had two eyepieces through which the laterally mounted images, placed in a holder in front of the lenses, were viewed. The two images were brought together by the effort of the human brain to create an illusion of three-dimensionality. Stereographs were made of a wide range of subjects, the most popular being views of landscapes and monuments and composing narrative scenes of a humorous or slightly suggestive nature. Stereoscopes were manufactured for various price ranges and tastes, from the simple hand-held device introduced by Oliver Wendell Holmes who promoted stereography through articles to elaborate floor models containing large numbers of images that could be flipped into place. The stereograph became especially popular after Queen Victoria expressed interest in it when it was exhibited at the 1851 Crystal Palace Exposition. Like television today, stereography during the second half of the 19th century was both an educational and a recreational device with a considerable impact on public knowledge and taste. The Fine-art Photographers' Publishing Co. published many stereoscopic pictures from many different photographers from around the world under license. They also not only sold these images of various scenes and of famous people of the time but also were retail sellers of the viewers with the subject item having been made in the USA probably by H C White who held the patent for the subject items design from 1895 to 1902.An item that was very popular from the mid 19th century through to the beginning of the Edwardian period. Used for entertainment and also educational purposes and significant as it gives us a snapshot into the Victorian era and its social and domestic societal norms. Stereoscope viewer with adjustable view-finder that has a padded nose rest. The slide holder can move along the channel to suit the viewer. Made in London by the Fine-art Photographers' Publishing Co. Printed on metal plate "THE FINE-ART PHOTOGRAPHERS' PUBLISHING CO. 48 Rydevale Rd, LONDON, S.W." Embossed on viewing cup "U.S.A. PATENT OCT.15.1895" "CANADA / FRANCE / GERMANY / D'R''G'M' NO. 53803" "JUNE 3.1902 / FEBY 1.1896 / B.S.G.D.B. / GREAT BRITAIN / AUSTRIA / BELGIUM"warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, stereoscope, stereographs, stereoscope viewers, home entertainment

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This dray harness is a plain, basic harness and reflects its working class origins. It was used by Mr. Oswald (Jack) Bourke with his horse and dray to firstly deliver drygoods from Sunbury to Melbourne in the 1930's and later (through the 1940's and 1950's up to 1961) when he worked on the garbage round for the Springvale City Council. This horse harness is a significant example of the equipment that was needed wherever horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used with a horse and dray circa 1930's to the early 1960's. It is made up of a number of components. 1. A leather bridle with metal buckles and rings, blinkers and a metal single jointed, snaffle bit that has the initials M B stamped onto the leather. 2. A leather bridle with metal buckles and rings and a metal "straight bar" Eggbut snaffle bit. It has an elongated X design (with 4 dots) stamped onto the leather strap holders near each buckle. 3. A blue and white vinyl halter with one leather patched strap. The nose band and a chin strap are covered with woollen padding. 4. A pair of leather shaft protectors. They have lacing holes along each edge and a repeating design of small shapes (flowers, wings, crosses and arrowheads) which run along the front of each protector. 5. A leather strap with a stainless steel chain and catch and a maker's mark for "Glenn's Leather Goods, Pearcedale Victoria" stamped onto the end. 6. A wide leather strap covered with a webbing sleeve. It has two large metal rings and each end and one ring has a rope attached. 7. A leather strap comprised of three separate sections (two shorter and one longer) joined with two metal rings. The longer section has notches along its length and the shorter section at the other end has a buckle. It also had a maker's mark stamped on it but the mark is very worn and the writing is difficult to read. 8. An adjustable leather horse collar with two buckles and straps at the top opening and two "B's" stamped into the leather. The top of the collar is made from treated leather pieces stitched together and the underneath of the collar is untreated leather. It has a padded indentation running all the way around the collar for the hames to sit in. 9. Two pairs of long leather traces - each having a buckle and notched section at one end and each one is made with three lengths of leather spliced together. 10. A leather strap (with one spliced join) belonging to a horse harness with two shorter straps (each ending with a metal clip) attached to a steel D ring at one end. 11. Three assorted short leather straps - the top one has clips at each end and a buckle (for adjusting the length) in the centre, the middle strap has notches and a buckle and the bottom strap is white with notches and a buckle.Bridle with blinkers - "M B" Bridle - design showing an elongated X with a dot in each section stamped onto strap holder Shaft Protectors - stamped design of flowers, wings, crosses and arrowheads Strap with chain - "Glenn's leather goods / Pearcedale / Victoria" Leather Strap (with two metal rings) - Maker's stamp - "name indecipherable / SADDLER / ...OURNE" Collar - "B / B" Leather strap - flagstaff hill maritime museum and village, warrnambool, great ocean road, sunbury, springvale, dray, delivery dray, harness, horse harness, horse drawn vehicles, working horse, oswald (jack) bourke, bridle, horse collar, hames, shaft protectors

This disc belonged to Frank Wright. The letters ENSA refer to the Entertainments National Service Association, which was set up in 1939 to provide entertainment for the British armed forces personnel. Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. He was the youngest of eleven children. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was appointed in 1934 as the Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and Conducting and was a Fellow of the Guildhall School of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. Frank was awarded an M.B.E. in 1967 and he died in November 1970. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.This red coloured 3.5 cm leather disc has been stamped with the letters ENSA Frank Wright CE. It has a hole pinched in the top, through which a string has been threaded.frank wright, armed forces entertainment, musician conductor, brass bands, ensa, entertainments national service association

Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern

TROVE : Argus (Melbourne, Vic. : 1848 - 1957), Monday 17 January 1859, page 7 TO the PHYSICIANS of AUSTRALIA -WOLFE'S SCHIEDAM AROMATIC SCHNAPPS, A superlative Tonic, Diuretlc, Anti-Dyspepsic and invi-gorating Cordial,-This medical diet-drink is manufactured soley by the proprietor at his distillery, in Schiedam, in Holland, expressly for medicinal purposes. It Is the pure tincture of junlper, distilled from the best barley that can be selected in Europe at any cost. It is flavored and medicated, not by the common harsh berry, but by the choice botanical variety of tho aromatic Italian juniper berry, whose more vinous ex-tract is distilled and rectified with its spirituous sol-vent. and thus it becomes a concentrated tincture of exquisite flavor and aroma, altogether transcendant in Its cordial and medicinal properties to any alcoholic stimulant now in use In the world. It has been submitted to all the first chemists and physicians in the United States, who endorse it over their own signatures as one of tho great essentials of the materia medica. It is now proscribed with great success In gravel, grout, rheumatism, obstruction of the bladder and kidneys, dyspepsia, whether acute or chronic, in general debility, sluggish circulation of the blood, inadequate assimilation of food, and exhausted energy, are acknowledged by the whole medical faculty and attested in their highest written authorities. Put up in quart and pint bottles, enveloped In yellow paper, with tho proprietor's name on tho bottle-, cork, and label. For sale by all the respectable druggists and merchants. UDOLPHO WOLFE WILKINSON BROTHERS and Co., sole agents for Australia. Depots at Melbourne and Sydney. TROVE : Age (Melbourne, Vic. : 1854 - 1954), Wednesday 19 November 1941, page 4 WOLFE'S Aromatic SCHNAPPS Wolfe's Schnapps is now distilled in Australia from the original formula of Udolpho Wolfe. It remains, as before, a beverage of unique medicinal properties — Appetising, Re-freshing, , Stimulat-ing — as good for women as for men. -Wolfe's 'Schnapps for j your health's sake FOR VICTORY-buy War Bonds Now . W.B.157.13 Olive green glass bottle, square in section, slightly tapering toward the base, text embossed on three sides, circular ring embossed in shallow pontil shaped impression on base.Side 1 : UDOLPHO WOLFE'S'. Side 2 : 'SCHIEDAM'. Side 3 : 'AROMATIC SCHNAPPS'.schnapps, schiedam, gin

This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

Josh MUIR (1991-05 February 2022) Yorta Yorta/Gunditjmara/Barkinjl Born Ballarat, Victoria Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on Aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. He was also a Telstra National Indigenous and Torres Strait Islander Youth Art Award winner. The Koorie Heritage Trust, the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of the Northern Territory and Federation University Australia all own his work. Digital output on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

In 1961 the Falls Creek Tourist Area Management Committee determined that there should be only one approved Ski School in the Tourist Area. The franchise for 1961 was granted to Alpine Developments Pty. Ltd', which also had the franchise for Tow Bar operations. The Ski School headquarters were based at the canteen adjacent to the T-Bar drive station. The Management Committee also determined that "No person shall be permitted to give instruction in skiing for any money or material consideration without the prior approval of the Management Committee". The Alpine Developments franchise was extended for the 1963, 1964 & 1965 seasons. In August 1964, the Committee declared that it was satisfied with the present Ski School operated by Alpine Developments, and is most anxious to retain it at Fells Creek. They declared that they were particularly happy with the standard of teaching and control achieved by the School director, Mr. Siegfried Haberzettl, who was at the resort for his fifth year, and to whose leadership and direction the success of the School was largely due. The Committee therefore arranged to extend the franchise for a further three years after 1965, and thereafter the franchise was to be continuous on twelve months' notice of termination from either party. In the 1960s and 1970s, the majority of Ski Instructors were Austrian. Lorna Clarke was one of the first Australians to gain the highest Austrian qualification, the Staatlicher Bundessportheim. She was employed at the Falls Creek Ski School in 1964. In the 1980s there was a push for more Instructor training to take place in Australia to enable local instructors to gain higher qualifications without having to travel to Europe. During this period, George Pirmoser and later Brad Spalding were Ski School Directors and Bridgford was the still the owner of Alpine Developments (Holdings) Pty. Ltd. continued to push for training of Australian instructors. Brad Spalding took over as Ski School Director in 1986 and along with his partner, Melissa Landregger developed a wide range of programs including children’s and women’s programs, private lessons and multi-day clinics for which Falls Creek Ski School is renowned until the present.This image is significant because it depicts some of the early instructors at Falls Creek Ski School.A coloured photo of a group of instructors at Falls Creek Ski School. On left Siggy Haberzettl, on right Lorna Clark. Siggy (Sigi) Haberzettl was the Ski School Director in the 1960s and Lorna was the first Australian instructor to be employed by the Falls Creek Ski School in 1964.falls creek ski school, brad spalding, lorna clarke, siegfried haberzettl

A photo of a troop ship in 1917. This could be the ship Private John Basil McLean travelled to Europe on, and the signatures were his shipmates and the photo was kept as a souvenir of the voyage. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 on the transport "Medic" for Plymouth, UK, arriving on 18 February 1917. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920. Some of the names that are visible are: AA Nelson, Runs, Cyril Barling, Ballantyne, H Robinson, MRH Wright, WG Brabney, NM Hart, HG Worboys, JV Martin, Lardner, JJ Charity, OH Newton, ? Martin, HE Thompson, ?, Bertram May, ? Allam, EJ Burge, LJ Baker, AW Lampard, AS Wickers, Frank H Buff. From Motor Transport: HL Brown, WJ Osborne, EB Kirby, FG Prowse, JW Aspinall, TH Masonette, HR Hadacre. John B Ryder, HW Humphries, David Thomas, VV Pahtonson? Allan Cartlee, PH Doolan, W Riddell, W Rillovison, FR George, HH Syllis, Wm Ford, JBM McLean, ? Gale, F Marsh, CSM McLean, Frank H King, C Pregeau, DW Parsons, Reginald G Edwards, RW Hornabrook. John B Ryder, HW Humphries, Dempsey, HE White, AE Lee, WR Somersby, Phillip L Higgins. Frank H ?, C Prg?, DW Parsons, Reginald G E?, Dick Cushe, and othersA record of a troopship photo being made to commemorate the voyage.Black and white photo of troop transport ship with signatures of passengers on the border.Signatures in black ink around the border. Gold stamp of the photographer: 'Exchange Studios, 47 & 49 Pitt St Sydney'. On the back in ink: '13824 J.B. Mclean A.A.S.C. Reinforcement / Intermediate Base / A.I.F. Abroad / Signatures of A.S.C. Motor Transport and friends on board the A.7 / 17.2.17'world war one, souvenir

From - theladynelson.org.au T The original Lady Nelson was built at Deptford, in England, in 1799, for service to the Transport Office on the River Thames. She was designed with sliding keels (centre boards), a device invented by Captain John Schank of the Royal Navy to allow surveying in rivers and shallow water ways. On completion she was selected for exploration services in the Colony of New South Wales and sailed for Port Jackson on 18 March 1800 under the command of Lieutenant James Grant. A brig of 60 tons, she carried a crew comprising the commander, two mates and twelve seaman. As she left the River Thames sailors on nearby ships ridiculed her because of her size and shape, calling her, as she sailed past, 'His Majesty's Tinderbox'. At Portsmouth on the 9th February 1800 she was fitted with four brass carriage guns, three to four pounders, in addition to the two guns already on board. Because of the heavy load she was carrying she was very low in the water, having only two feet nine inches freeboard amidships. The ship finally left Portsmouth on 17th March 1800 as part of an East Indian Convoy. From 1800 to 1825 the Lady Nelson operated around the Australian Coast and fulfilled a variety of roles including exploration, surveying, forming settlements, shifting goods and people around the colonies and capturing pirates. She played pivotal roles in the European settlement of Hobart, Northern Tasmania, Melbourne, Newcastle, Port Macquarie and Northern Territory. Those onboard charted much of Bass Strait, Port Philip, Newcastle, Port Macquarie and (with the Investigator) the coasts of northern New South Wales and southern Queensland. She also has links to other locations around the East Coast such as Trial Bay in NSW and the Mt Gambier area of SA. After 25 years of service while trading on the island of Baba the Lady Nelson was overrun by the islanders, the crew was killed and the ship stripped and later burnt and sunk. A replica of the Lady Nelson was built in the 1980s.Image of a tall ship in sail. The ship is flying both the Aboriginal flag and the Australian Flag. It sails on a calm sea. There are figures on the deck - four in total. The image is mounted on cream board and framed in dark timber. Etching, hand coloured,.Front: 'Lady Nelson A/P BT' - hand written, pencil in between etching and mount Back: Artist's business card glued to back of etching, lower left hand corner:ady nelson, femal artists, female artist, women

Community information booklet issued by City of Ringwood for 1984 - covering the facilities and activities of the Ringwood Council and other local organisations and associations.CONTENTS: (page no.) Building - General Information 23 By-Laws/Traffic Regulations 22 Canterbury Road Railway Bridge Widening 34 Commissioners for Taking Declarations and Affidavits 24 Council Elections 11 Council Representatives 1983/1984 7 Council Structure. 10 Deferment of Rates 11 Emergency Telephone Numbers 59 Employment Initiatives Programme 32 European Wasps 26 Facilities for Disabled Persons 15 From the Chief Executive Officer 8 Garbage 20 Genera] Use Buildings 39 Historical Museum 29 Home Help Service 14 Immunisations - Health Care 12 Immunisation Programme - 1984 13 Justices of the Peace 23 Library Service for Senior Citizens 15 Maintenance of Facilities 34 Management Executive 9 Mayor’s Message – Cr. F.J. Corr 2 Meals on Wheels 14 Members of Parliament 25 Parking Signs and Street Names 35 Pedestrian Hazards 36 Pensioner Rate Assistance Scheme 12 Property Records 11 Rates 11 Re-Cycling of Waste 21 Ringwood Centre (Hostel) for the Frail Aged 17 Ringwood Cultural Centre 40 Ringwood Festival 28 Ringwood Golf Course. 36 Ringwood Highland Carnival 28 Ringwood Lake Reserve 29 Ringwood Library 17 Shopping Centre Studies 38 Staley Gardens 32 Standing Committees of Council 6 Swimming Centre 37 Welfare and Community Services 41 rinx

8727.1 - Wooden frame, Dark stain with plastic inner frame where it is painted with a metallic looking silver. 8727.2 - Specimen banknote information sheet. 8727.3 - Fifty pound note (specimen). 8727.4 - One hundred pound note (specimen). 8727.5 - Ten pound note (specimen). 8727.6 - One pound note (specimen).8727.2 - National Australia Bank - Heritage Collection - Specimen Banknotes - Specimens of the National Bank of Australia Limited banknotes in circulation in 1910. Nineteenth century banknote designs were inspired by ancient Greek myths, with images of classical figures symbolising agriculture and trade. Intricate line patterns and borders were also featured to discourage forgers. Although local printers produced the National's early notes, highly skilled security printers, Bradbury Wilkinson and Co. of London, producers of banknotes for many Australian and European banks were engaged by the National to design and produce most of its banknotes. - © National Australia Bank Limited. 8727.3 - 50 - ADELAID - SOUTH AUSTRALIA - Pounds - FIFTY - On demand I promise to pay the bearer FIFTY POUNDS sterling at ADELAID 1st November 1893 - For National Bank Australia - SPECIMEN - ENTd - Manager 8727.4 - 100 - THE NATIONAL BANKOF AUSTRALIA - NEW SOUTH WALES - ONE HUNDRED - On demand I promise to pay the bearer ONE HUNDRED POUNDS sterling at SYDENY 1st January 1887 - For THE NATIONAL BANK OF AUSTRALIA - Manager - SPECIMEN - ENTd 8727.5 - MELBOURNE - 10 - POUNDS - THE NATIONAL BANK OF AUSTRALIA - LIMITED - SPECIMEN - On demand I promise to pay the bearer TEN POUNDS sterling at MELBOURNE - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - VICTORIA 8727.6 - PERTH - WESTERN AUSTRALIA - 1 - THE NATIONAL BANK OF AUSTRALIA LIMITED - On demand I promise to pay the bearer ONE POUND sterling at PERTH - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - SPECIMEN

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

A woman, an elderly woman and two children pose on the verandah of a Federation style home. On the back of the postcard is written: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills". This family is possibly related to the Rev Wm Green who was associated with St Margaret's Church Eltham at around this time. Evelyn Observer and Bourke East Record, Friday 6 March 1914, page 2 A very pleasant social gathering was held by the Glee Club in the Church of England schoolroom on the evening of last Thursday. An interesting programme of music, varied by a very amusing dialogue by Glee Club members; made an enjoyable evening. After the programme was finished, and before refreshments were served, Mr, Gilsenan, on behalf of the Glee Club and the visitors, expressed their good wishes to Rev. Wim. Green, Mrs. Green, and Miss Mills, who were leaving on the 3rd inst. for a visit to the old country. Mr. Green responded, reciprocating the good wishes expressed. The gathering broke up to the strains of "Auld Lang Syne." Evelyn Observer and Bourke East Record, Friday 11 December 1914, page 2 The Rev. Wm Green, Mrs. Green, and Miss Mills; who have been on a nine months' trip to Europe, returned to Melbourne by the "'Morea" on Monday and out to Eltham the same day. As the rev. gentleman only left England a few weeks since and the continent just before war broke out, he ought to have some reminiscences worth listening to; His return is welcome both to his church, and the community generally, the more so he being the only resident clergyman in the neighbourhood. Evelyn Observer and Bourke East Record , Friday 11 June 1915, page 3 The Rev. Wm. Green, who has been in charge of St. Margaret's Anglican church here for some eleven years, resigned to take charge of the Church of England " Messenger". and work in connection with the ? about Melbourne. He is to be succeeded in Eltham by the Rev, ? Sapsford, of North Brighton. Printed postcard with faded photograph on frontInscribed back: "21-12-15 To wish you and all. A Happy Christmas, and all good wishes for the new year from Mrs Green and M. Mills" Also inscribed in pencil - "V. Lay" (Vera Lay Greensborough)eltham, 1915, m. mills, mrs green, postcard, v. lay, houses

Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. Likely Silverplate due to the intensity of the tarnishing of the metal, with indecipherable hallmarks on the handle, the method of production and the maker mark are unclear. The delicate swirling fernlike motif on this particular butter knife appears to be stylised in either Art deco the decorative arts and craft style favoured in Europe between 1880-1930's and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This butter knife represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food, he buttered his bread and he did it with a wonderfully decorated silver butter knife.A tarnished metal butter knife with engraved and embossed spiral fern details on the knife and handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen, cutlery, butter knife, knife, silverplate

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

This medallion was struck to celebrate the 100th anniversary of fellmongering in Mazamet in 1951. Fellmongering - In French, ‘delainage” means, literally, ‘de-wooling'. It is the industrial process of separating wool from sheepskins. In the 19th century, the southern French town of Mazamet became the world centre of délainage and played an important part in the Australian wool industry. At one time Mazamet was reputed to be the 15th richest town in Europe, and it was said that the town’s branch of the Banque Nationale de Paris (French banking firm) was the second largest in France. At its height, Mazamet had 48 fellmongeries and imported more than 100,000 tonnes of sheepskins a year from the southern hemisphere, mostly from Australia and Argentina. It also supported numerous associated industries such as tanneries, spinning mills and clothing manufacturers. In the 1980s Mazamet’s fellmongering industry fell into decline under pressure from environmental concerns and cheap imports. The town’s last two fellmongeries closed in 2004. The town continues to have a strong relation to Australia, with street names such as, Rue de Australie, Adelaide, Brisbane, Melbourne and Sydney in recognition of a connection to the two distant lands. Today, half a century since wool importation largely ended, there remains a link to the past. Elite quality leather and woollen clothing companies such as Hermes and Chanel still source much of their stock in Mazamet. This medallion was presented to William Haughton and Co. who were one of Australia’s largest wool-buying companies of the first half of the 20th century. Wm Haughton had a major presence in Geelong and its “SKINS WOOL HIDES TALLOW etc.” signs were prominent on railways stations throughout the Western District and beyond. Haughtons had branches in all Australian capital cities, New Zealand, London and Bradford. Its agents in Mazamet were Maison Louis Maffre, an enterprise founded by M. Louis Maffre, mayor of Mazamet from 1912 to 1919. This medallion was donated to the National Wool Museum by the family of Sir Robert Southey AO CMG, former managing director of Wm Haughton & Co.Bronze medallion contained within purple case. On one side of the medallion, a mill worker is seen scraping the wool off the treated sheepskin. On the reverse the inception can be read.Wording: CRESCAM ET LUCEBO // CENTENAIRE / DU DELAINAGE / MAZAMET // 1851-1951. Smooth edge stamped with a cornucopia and the inscription BRONZEmazamet, fellmongering, délainage

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

Study of Winter's Swamp commissioned by BEN and completed by BHS. The swamp was named after one of the first European settlers in the district. Winter Swamp LAT -37 32 LONG 143 47, Parish of Dowling Forest, County of Grenville Winter Swamp, on the southwest corner of Ballarat West Town Common, was not included in the original proclamation of the Common in 1861. However, being marshland, it was not considered suitable for grazing, so was added to the Common soon after 1861. Winter Swamp is a large wetland with native and exotic pasture significant for wildlife. John Winter (Jock) was born in Berwickshire, Scotland. He married Janet Margaret Irving the daughter of Robert Irving, advocate, Bonshaw, Dumfries, Scotland. Winter died in Ballarat in 1875 and was buried at the Ballaarat Old Cemetery. He took up the run Bonshaw from 1841; Leigh River Buninyong 1842-46; Junction, Delatite, March 1851 to September 1862; with sons: Carag Carag and Corop, April 1857 to September 1872; Colbinabbin and Stewart’s Plains, April 1857 to December 1872; St Germains February 1867 to March 1871. (The name became Winter-Irving in 1890). Mr John Winter, who died on August 22 at the age of 72, was a man of some note it the mining community of Ballarat. He was a self-made man, and one of our oldest colonists, it being over a quarter of a century age since he took up county about Ballarat and settled at Bonshaw. He died very rich. It is calculated that if he had retained an interest in all his runs, his income must have been not less than £10,000 or £50,000 a year. Some eight or ten years ago he sold his Bonshaw pre-emption to the Bonshaw Gold mining Company for £20,000, and a few years later the ground belonging now to Winter's Freehold Company brought him £50,000 more, the payment being made at the requisition of the deceased in sovereigns. In these relations Mr. Winter has been closely identified with the mining industry at Ballarat. The deceased was a native of Lauder, in Berwickshire, and landed in Victoria several years before the gold discovery.The principle task of this project was the delivery of a report outlining the history of European settlement in the Skipton and Cardigan/Ballarat districts as pertinent to the use of and impact on the natural environment of the two reserves Skipton Common and Winter Swamp. The report was delivered in digital form only. The report, upon completion, was presented to the Network’s Committee in order to discuss the project. The report identified and described the uses of Skipton Common and Winter Swamp, and their impacts. In particular, this report examined farming/grazing (official and informal), mining, vegetation removal (including the removal of woodlands for timber, grasslands for pasture improvement) & use of riparian areas for access to water and timber removal. Recording the more benign and environmentally friendly uses such as picnicking, community activities, nature walks and the roles of organisations such as Field Naturalists’ and Bird Observers’ clubs, school and scout/guide groups will be relevant in helping to depict overall community attitudes towards the reserves; e.g.: has the Common generally been viewed as little more than a grazing paddock and fire hazard; has Winter Swamp always been the unknown natural asset that seems to have been its lot for at least the past 40 years? In this regard, the more contemporary history of actions surrounding the use and management of the reserves is of particular interest, in view of the extant evidence at both reserves; e.g. the actions of the Shire of Ballarat in the 1980s in establishing Winter Swamp as something of a competitor to Lake Wendouree but with a more environmental bent (although almost none of the plants used are indigenous species, but that is part of the story); the trotting track constructed on Skipton Common in the 1960s following representations to Premier Henry Bolte and the cropping of the western section of the Common to raise funds for the town’s new swimming pool, the fertilizing of the land putting an end to the native grassland vegetation. There are obviously multiple sources of information to source in preparing the report, however sources that the contractor is specifically requested to consult are the Skipton Historical Society, the former Skipton Common managers (specifically Graeme Pett), the Cardigan Windermere Landcare Group and the Learmonth Historical Society (believed to hold many of the former Shire of Ballarat’s records pertaining to the Council’s role as the Committee of Management for both Winter Swamp and the Ballarat West Town Common – Winter Swamp was split between 2 separate Crown Land tenures). The contractor is also encouraged but not required to utilise community newsletters, such as the Skipton Community Newsletter, to publicise and seek information about the project. Skipton Historical Society (Mary Bradshaw) contacted on Thursday 12 June 2.30pm. Mary lived on a farm out of Skipton but is currently living in the township. She remembers walking along the creek of the Common especially in spring and autumn in bare feet and that it was a very pretty place. There were a few snakes around the waterway in summer. People put cows and a couple of horses on the commonage to graze. Graeme Pett has always lived close to the Common and would know a lot about it. Other possible contacts would be Nicole Petress, Secretary of the Progress Association, and the Corangamite Council, Camperdown. Digital images of Winter's Swampwinter's swamp, ballarat, john winter, ballarat environmental network, mullawullah

This pair of milk bottles, produced for the Model Dairy in Cotham Road, Kew, were donated by Vik Sabaliauskas. They belonged to his father who worked at Model Dairy in the 1950s and 1960s. Vik wrote about his father: "As for my father, his whole life story is interesting. He was part of the big immigration program after WW2. He was a displaced person in Germany like lots of others who came out looking for a new life. Our family name is actually SABALIAUSKAS which is of Lithuanian descent. My Dad was also named Vik (Viktoras). He was known as Big Vik and I was little Vik. He arrived in Australia in 1947 and then did his 2 years of work organised by the Government and then he came to Melbourne. We lived in Tyler St Preston and he rode his pushbike to and from Kew every working day for years. In my estimation that was about 13 kms for about 6 or 7 years. Imagine that happening today. Freezing Winter mornings and hot Summer afternoons. His English was poor but he had a great work ethic like all European immigrants. His duties related to maintaining and operating all the machines. One story that he told me about was that after I was born (in 1959) he made friends with one of the drivers who delivered milk to the dairy. He asked him to get a container of milk from the farmer everyday which was just for me. I remember going to the Model Dairy Family Christmas parties which were always well patronised. I also remember visiting him in the PANCH Hospital (Bell Street Preston) where he was treated for kidney stones caused by drinking very creamy milk. He wasn't happy when he was told by the doctor to cut back on milk. My Dad was one month short of his 95th birthday when he died and he lived a pretty healthy life." (2019)Kew was a major milk producing district in the Nineteenth and early Twentieth centuries, with three major dairy farms lining the Yarra between Studley Park in the west and Burke Road in the east. In addition to these dairy producers, there were also a number of accredited dairy retailers in the suburb. The largest and most enduring of these was the Model Dairy founded by the Kew pioneer James Venn Morgan. Milk bottles that include the name of the producer or retailer are historically significant as they represent a period in Kew's history before the mass production of milk in the second half of the Twentieth Century. A number of these named bottles have the additional attribute of rarity.Pair of plastic milk bottles, designated on the front as to be used in the refigerator on on picnics. One bottle has a red screw on lid and the other a green lid. The bottles are semi-transparent. [The record also includes a photograph of Vic Sabaliauskas, provided by his son. The photograph dates from the period when he was employed at the Model Dairy].Impressed on the front of both bottles: "Unbreakable picnic and refrigerator bottle made expressly for Model Dairy Pty Ltd Cotham Rd Kew"dairies - kew, model dairy - cotham road - kew (vic)

From Rosemary Cameron - This quilt has been made in 100% wool to celebrate the diversity, durability and beauty of pure wool, especially the lightweight cool wools. The woollen patches were kindly donated by Mr. David Jones, managing Director of Fletcher Jones and Staff which were pre-cut samples of European Fabrics in various weights, textures and colours. I had the task of creating a design around the fabrics available, some of which I only had to sample. I chose to surround my design with dark shades to encompass at the top of the quilt, the lightness of the sky and the trees, in the middle the warmth of summer, the dryness of central Australia and at the bottom the rick tones of Opals, our mineral wealth and the internal heart of earth. To add excitement and texture to this design I chose 31 Australian Wildflowers including all the Australian Floral Emblems, some unusual wildflowers and favourite small wildflowers. Twice life size, these flowers have been made of silk wool and cotton, embroidered, painted and beaded by our creative and talented Hamilton Quilters, their results are fantastic! The brilliance and timeless quality of these Australian Wildflowers intensify and complement the colours of the Wool Quilt. The Quilt was hand pieced and hand quilted at quilting bees. It has a woollen batting, binding and backing which was a delight to work with and very easy to quilt. The flowers were assembled and attached in small working bees. To the fifty-two Hamilton Quilters who have worked on this quilt for six months thank you for you hard work and creativity especially Joan H. Lyons for her time, enthusiasm and knowledge when difficulties arose. Joan M. Lyons has worked with me on various stages of this Quilt, her help and support has been tremendous. To my family who have tolerated scraps of wool and silk, photographs, wildflower books and specimens and drawings which have at times almost taken over our house, a year from ideas to completion, thank you for your support and help in many ways.Multi coloured patchwork quilt with native flowers protruding from centre in a diamond shape.Embroidered on back - "The Celebration Quilt" Made in 1990 by The Hamilton Quilters, Designed by Rosemary A.O. Cameron. Made of Pure Wool. Beryl Anderson, Joan Askew, Bett Basham, Marilyn Baulch, Rau Blaby, Pauline Boyd, Aileen Beckwith, Dorothy Beveridge, Ros Brommell, Rosemary Cameron, Gwen Cook, Anne Cordner, Kaylene Cowland, Elaine Denby, Barbara Dolman, Rosalie Duffield, Helen Fry, Glennys Gardner, Nola Gunning, Margaret Irvine, Bev Jeffrey, Emma Jensen, Betty Lacy, Helen Lampard, Joan H. Lyons, Joan M. Lyons, Elaine McDonald, Carole McEwan, Joy McLeod, Joyce McLeod, Mary May, Joan Mallinson, Susan Mason, Anne Menzel, Val Mills, Betty O’Brien, Di Pettigrew, Therese Read, Sherry Robertson, Lee Rowland, Irene Saddler, Nanette Templeton, Glenys Tindall, Liz Wallis, Ruth Walter, Marion Warburton. Alison Waterman, Pat Wilmot, Nola Malcolm, Ann Nicholls, Margaret Rowe, Jill Hillier.celebration, flowers, hamilton quilters, quilt, native flowers

Community information booklet issued by City of Ringwood for 1988 - covering the facilities and activities of the Ringwood Council and other local organisations and associations. Cover photographs: Front - Floral displays at Clock Tower and a scene at Council nursery; Back - Activities at Ringwood Festival held at Ringwood Lake in April each year.CONTENTS: (page no.) After School Activities Programme 23 Aged Services 21 Bicentennial 15 Building Information 29 By-Laws and Traffic Regulations 31 Caravans/Mobile Homes 31 Chief Executive's Message 10 Children's Services 22 Churches 40 Civic Centre 4 Committees of Council 5 Community Plan 15 Community Services 35 Corporate Management Structure 11 Council Meeting Dates 4 Council Representatives 8 Councillors 6 & 7 Disabled Persons Facilities 42 Dogs 31 Domiciliary Care 24, 25 & 26 Elderly Day Care 44 Elderly Persons Units 29 Emergency Telephone Numbers 53 Employment Opportunities in Ringwood 26 European Wasps 28 Family Day Care 22 Finances 17 Fire Hazards 31 Future Leaders 16 Golf Course 34 Home Handyman Services 25 Home Help 26 Immunisation Programme 27 Incinerators 32 Knaith Road Child Care Centre 22 & 23 Library 30&31 Maternal & Child Health Centre 30 Mayoral Message – Cr. John R. Caffyn 3 Meals on Wheels 24 Members of Parliament 9 Playgroups 33 Pre-Schools 53 Primary Arterial Road Network in Ringwood 13 Rates—New Collection Service 18 & 19 Ringwood Aquatic Centre 14 & 15 Ringwood Bypass Road 12 Ringwood Convention & Performing Arts Centre 33 Ringwood District Centre Structure Plan 12 Rubbish Collection Service 35 & 36 Schools 56 Youth Outreach Worker 20 rinx

Laughing Waters is the name for a stretch of the Yarra Valley Parklands consisting of river flats and hilly riparian bushland. With Birrarung (Yarra River) flowing through, Laughing Waters has been an important gathering place for thousands of years. For the Wurundjeri, ‘Garambi Baan’ (the name for Laughing Waters in Woi wurrung) is an important site for growing and harvesting food. Significantly, Wurundjeri iuk (eel) traps remain at Garambi Baan to this day. The Wurundjeri Woi Wurrung People take their name from the Woi wurrung language word ‘wurun’ meaning the Manna Gum (Eucalyptus viminalis) which is common along ‘Birrarung’ (Yarra River), and ‘djeri’, the grub which is found in or near the tree. Wurundjeri are the ‘Manna Gum People’ and their Ancestors have lived on this land for millennia. The site on the Yarra River near the former Morrison property Killeavey was given a language name in 2015 at the instigation of Wurundjeri Elder, Dave Wandin. Garambi Baan means “laughing waters” in the traditional language, Woi wurrung. The site at Warrandyte was rediscovered by Campbell Beardsell OAM in 2007 and is one of only a few known remaining iuk (eel) traps on Country once found the length of the Birrarung (Yarra) and the Maribyrnong. Original Indigenous aquacultural infrastructure was dismantled, taken away from sites and used to build houses, fords and roads by Europeans. The difficult and restricted access to this site is thought to be one of the reasons for its survival. The iuk trap is located within lands managed by Parks Victoria. The Narrap team in partnership with Parks Victoria and Acacia Land Management have been improving the native vegetation with a program of woody weed removal, exclusion fencing and revegetation. Importantly, the team have restored the trap’s infrastructure and have demonstrated its effectiveness.” References: Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation - Laughing Waters. (2023, September 3). Retrieved from https://inplace.org.au/laughing-waters/ GARAMBI BAAN LAUGHING WATERS RESIDENCY CENTRE 2020 2024 Strategic Plan, Nillumbik Shire Council (2023, September 3). Retrieved from https://www.nillumbik.vic.gov.au/files/assets/public/minutes-and-agendas/2020/09-sep/15-sep-cm/ocm.177-20-attachment-1-laughing-waters-arts-program_1.pdffay bridge collection, eel trap, laughing waters, yarra river, wurundjeri woi wurrung, garambi baan, 2023-09-06

Laughing Waters is the name for a stretch of the Yarra Valley Parklands consisting of river flats and hilly riparian bushland. With Birrarung (Yarra River) flowing through, Laughing Waters has been an important gathering place for thousands of years. For the Wurundjeri, ‘Garambi Baan’ (the name for Laughing Waters in Woi wurrung) is an important site for growing and harvesting food. Significantly, Wurundjeri iuk (eel) traps remain at Garambi Baan to this day. The Wurundjeri Woi Wurrung People take their name from the Woi wurrung language word ‘wurun’ meaning the Manna Gum (Eucalyptus viminalis) which is common along ‘Birrarung’ (Yarra River), and ‘djeri’, the grub which is found in or near the tree. Wurundjeri are the ‘Manna Gum People’ and their Ancestors have lived on this land for millennia. The site on the Yarra River near the former Morrison property Killeavey was given a language name in 2015 at the instigation of Wurundjeri Elder, Dave Wandin. Garambi Baan means “laughing waters” in the traditional language, Woi wurrung. The site at Warrandyte was rediscovered by Campbell Beardsell OAM in 2007 and is one of only a few known remaining iuk (eel) traps on Country once found the length of the Birrarung (Yarra) and the Maribyrnong. Original Indigenous aquacultural infrastructure was dismantled, taken away from sites and used to build houses, fords and roads by Europeans. The difficult and restricted access to this site is thought to be one of the reasons for its survival. The iuk trap is located within lands managed by Parks Victoria. The Narrap team in partnership with Parks Victoria and Acacia Land Management have been improving the native vegetation with a program of woody weed removal, exclusion fencing and revegetation. Importantly, the team have restored the trap’s infrastructure and have demonstrated its effectiveness.” References: Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation - Laughing Waters. (2023, September 3). Retrieved from https://inplace.org.au/laughing-waters/ GARAMBI BAAN LAUGHING WATERS RESIDENCY CENTRE 2020 2024 Strategic Plan, Nillumbik Shire Council (2023, September 3). Retrieved from https://www.nillumbik.vic.gov.au/files/assets/public/minutes-and-agendas/2020/09-sep/15-sep-cm/ocm.177-20-attachment-1-laughing-waters-arts-program_1.pdffay bridge collection, 2015-05-16, eel trap, laughing waters, yarra river, wurundjeri woi wurrung, garambi baan