The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A number of colour photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tres is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "View of Fernhurst Home Taken from Street / 10"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst from higher ground level side shot / 7"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Back view of Fernhurst / 8"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst front view taken from across Fernhurst Grove / 6"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Front view of Fernhurst showing tower to advantage / 9"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

George Wharton arrived in Melbourne in 1844. An architect and surveyor, he was appointed to lay out the 'Village of Kew' by N.A. Fenwick following the land sales of 1851. A protagonist for Kew's separation from the Boroondara District Road Board, he was elected chairman when Kew achieved municipal status in December 1860. His home, 'Fernhurst', was built in 1866 on eight acres in Studley Park, with a four-storey tower and pyramidal roof. The Italianate home was a prominent Kew landmark. It was demolished in 1979 and replaced by St Paul's College in 1980.Rare colour photograph of what was once a significant mansion in Kew.Original colour positive photograph (Kodak print) of 'Fernhurst' in 1978. Photographed by Stewart West in May 1978, one year before it was demolished, the photograph gives little idea of the large landholding once surrounding the house. Originally accessed from near the corner of Princess Street and Studley Park Road, its gardens had been subdivided in the 1900s and its footprint restricted to 13 Fernhurst Grove. Like many other grand houses, by the 1970s it had been converted into apartments. From the photograph, one can see that the house had retained many of its original features such as the distinctive tower and the wide bow-fronted verandah. The slates on the roof (apart from those on the tower) had been replaced by tiles and the cement render of the exterior painted white. Annotated reverse: "Fernhurst corner shot through trees / 12-22"fernhurst, 13 fernhurst grove -- kew (vic.), george wharton, italianate architecture, vila maria society, st paul's school for the blind

Photographs. Gertrude Perry Collection. Three black & white photographs. Two are full length photos of a lady dressed in a white dress with dark shoes and handbag. She is wearing a small hat with a bow on the top. She is also wearing a long necklace. Behind her is a wicker basket and bunches of flowers. On the back is written Mrs Helen Hopper Katenka 1956. However, this image looks like Gertrude Perry. The second photo is of the same lady with a gentleman dressed in white trousers, shirt and hat with a dark jacket and shoes. He is also wearing a bow tie and glasses and has a cigar in his mouth. The photographs are in an envelope with No 122 on the top left edge. On the front Oklahoma has been crossed out. Addressed to Miss G Perry Katenka.photograph, person, gertrude perry, gertrude perry collection, mrs helen hopper, mr hopper, katenka.

The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tre-es is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum

The Big Tree is listed a a tree of State significance on the National Trust's Register of Significant Trees of Victoria for its outstanding size, curious fusion of branches, as an outstanding example of the species and as an important landmark.A photographs of Guildford's Big Tree - a River Red Gum (Eucalyptus camaldulensis). The tre-es is believed to be one of the largest examples of the species in Victoria, and has been recorded as having a height of 30 metre, a canopy spread of 34 metres, and a trunk circumference of 9.35 metres. The tree was already an ancient giant when white settlers first arrived in the 1840s. On Saturday evening, February 28th 2015, just as dusk was falling, Guildford was hit hard by tornado-like winds, felling the big cottonwood tree down by the river, and tearing limbs from the iconic Big Tree, reducing it by an estimated one third. The debris has been cleared since then and the tree seems to have survived its ordeal, though its size is certainly diminished.big tree, guidlford, river red gum

Black and white photographs, of 15 men around a SW6 fitted with dash canopy lighting. In an e-mail from Mal Rowe dated 2/9/2019, he advises "If it is Essendon (and that looks right) especially noting that 454 (in the background) was allocated to Essendon at that time, so Essendon is pretty certain. The tram is most likely 927 - the only dash canopy SW6 with a number including 2 allocated to Essendon in the period. Geoff Warburton's tables say the three holes were cut in 927's dash in Nov 1951 and the it was converted to headlights in December 1951! As you say, looks like MMTB staff - in the pit in their suits! It's a long shot, but is the guy with his hand on the bumper on the opposite side to the number possibly Frank Kirby?""On rear in ink "About 1953 @ Essendon Depot"trams, tramways, dash canopy lights, essendon depot, engineers, tram 927, sw6 class, mmtb, staff

This box of sampled is typical of those issued to official manufacturers of military badges, insignia, and buttons to ensure the gold colour remained consistent. These badges were held by the Third Army Quality Assurance Unit (3AQAU). The manufacturers were often local companies, where an example of a typical supplier is KG Luke who also manufactured the Brownlow Medal, the award given annnually to the Australlian Football League's best and fairest player.A rectangular wooden box with a black velvet-like cushion in one side. cushion has 10 examples - 2 of each kind - of military insignia and buttons of two different shades of gold colour. Box opens on one long side and is hinged (4cm brass hinges with 3 screws in each side). Clasps on opposite long side, also of brass. Wood has been stained a dark brown. Base off box shows 14 brass staples. Corners of base show 2 nails, possibly brass. A typed sheet of paper is attached to the inside of lid, dating from 1993, explaining usage of samples. Paper tag affixed to cushion between samples - Department of Defence authenticating samples in box. Tag attached with fabric tape and secured using a lead seal.Paper taped to inside lid - title 'SEALED SAMPLE 8455-03311' - a lengthy description of contents and box follows. Please refer ot photograoph for further details. Typed tag on cushion - 'Department of Defence/SEALED SAMPLE/Sealed sample Number 03311/Stock Number 8455/Description STANDARD OF GOLD COLOUR FOR INSIGNIA, BUTTONS AND BADGES (ANODISED) ALUMINIUM ALLOY 1150/APPROVED. The supply is not to differ from this sealed sample except as endorsed on the back hereof./D Darby [signature] 29/06/1993 /EDE VFE SCDDG [stamped].' Reverse of tag (stamped in red within a thin lined border) - 'SEALED SAMPLE/NOT TO BE/DESTROYED OR/MUTILATED' badges, military insignia, button

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

These collars were worn by Mr Whiteman, Marjorie Burton's father, until he died in 1972. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. She came from a middle-class working church-going family. Her father served in Civil Defence during WW11. A detachable collar was a shirt collar separate from the shirt, fastened to it by buttons. The collar was usually made of a different fabric from the shirt and was almost always white and specially starched to a hard cardboard-like consistency. detachable collars were a better way to clean and starch a collar for business or formal wear. As more emphasis started to be placed on comfort in clothing wearing a detachable stiffly starched collar decline in day wear; although it is still often worn by barristers while a full dress shirt may still have a stiff detachable collar. These collars are examples of clothing which was commonly worn by businessmen in the first half of the 20th century.Four men's starched cotton shirt collars. They each have 3 button holes for attaching to a shirt. Two are white with grey stripes and two are plain white.2483.24 and 2483.25 - Trubenised reg trade mark Reg user Do not starch Iron very damp 129 4128 15 2483.26 - Patented and made in England Woven from Egyptian cotton 476035 SECONDS Van Heusen 15/38 2483.27 - Trubenised Patent registered No starch needed 15 Iron very damp collars-detachable men's-clothing accessories burton,-marjorie

The portrait was commissioned in 1884, near the end of Molesworth's term of office. The portrait was commissioned at the same time as those of Redmond Barry and Chief Justice Stawell. Robert Molesworth, like his contemporaries, Stawell and Barry, went to Trinity College, Dublin, and practiced at the Irish Bar before migrating to Australia in 1852. Molesworth quickly gained a large practice at the Bar. In 1853 he was acting Chief Justice and he later served as Solicitor-General in the early Victorian colonial administrations. Molesworth was appointed to the bench in 1856. He primarily worked in the Equity area, but his main contribution to Colonial administration was as the Chief Judge of the Court of Mines, establishing the basis of mining law in Australia.The portrait of Molesworth is significant because of whom it portrays and is the only known portrait of Molesworth.Full length portrait in oils of Sir Robert Molesworth. He is seated at a desk and dressed in Judicial robes. The frame is of 20th century originSigned with monogram and dated 1885 lower left. Plaque identifies sitter as The Hon. Sir Robert Molesworth Judge of the Supreme Court. 1856-1886courts, molesworth robert, a beckett edward

Ronald Leslie Schorey Dickinson RAAF No 439212. He initially enlisted as a RAAF Cadet age 16 years on 27.2.1942, Cpl 17.11.1942, Sgt 17.6.1943, S/Sgt 8.10.1943. At age 18 he enlists on 29.2.1944 with the rank A/C 2 and soon with the rank LAC (leading Aircraftsman). He is posted to places like Geraldton & Kalgoorlie WA, Benalla & Tocumwal VIC. From 23.9.1945 he is listed with postings at 54 Mile NT, Darwin in two different units, Winellie and Ransford. He is discharged with the rank of LAC on 20.5.1946. Records are hard to follow but it appears he could have been Aircrew as an LAC. Refer also Cat No 7263PThis is a hard cover book. The colour of the front cover is a purplish hue. The spine has a blue buckram binding. It was Airforce Form A.18. Inside are a large number of pages covering such subjects as; Pilot Certification, Aircraft flown, Hours, Locations. Dates - range from 1944-2017. Possibly some pages are missing. 1942 - 1944. It has records for RAAF Flying and Civilian Flying Post WW2.Written on bottom of book pages is name "DICKINSON R.L.S.raaf, flying log

These six photographs of Printer Technicians using a heavy-duty guillotine to trim bulk printed map stock were probably taken circa 1960s to 1980s in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo. Personnel are not identified on Photos .3P and .4P, however names are annotated on photos .1P, .2P, .4P and .5P. Cartographers normally provided trim marks to specified map dimensions as guidance to the printer. The trimming stage, like all the other printing processes required high levels of accuracy. These guillotines were extremely powerful to cut through bulk quantities of printed maps, as evident in photos .1P .3P, .4P and .6P.This is a set of photographs of Printer Technicians using a heavy-duty guillotine to trim bulk printed map stock c1960s to 1980s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1960s, L to R: ‘Wanger’ Payne, unidentified, Lithographic Squadron .2) - Photo, black & white, c1980s, CPL Ken Cavanagh, Lithographic Squadron .3) - Photo, black & white, c1970s, unidentified, Lithographic Squadron .4) - Photo, colour, c1970s, Peter Saunders, Lithographic Squadron .5) - Photo, black & white, c1980s, L to R: unidentified, WO1 Noel ‘Nesty’ Coulthard, Lithographic Squadron .6) - Photo, black & white, c1980s, unidentified, Lithographic Squadron.1P, .2P, .4P and .5P. personnel annotation on back. * unidentified on .1P due to poor writing. .3P and .6P – no annotationroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho, printing

Heather Pitman studied at the School of Mines and Ballarat College of Advanced Education and was awarded the Civil Engineering Scholarship in 1977. Heather broke down barriers in engineering with an integrity that earned her tremendous respect in the sector and led to her becoming the first female Head of Engineering for the City of Ballarat. She was the first of a new breed of engineers to consider the urban water cycle in its entirety and not in isolated parts, a radical approach at the time. In her honour, the Pitman Benjamin Engineering Prize was founded, to recognise students like Heather, who have chosen not to accept the status quo, but instead to change the world to make it better for all. Heather died in 2005.heather pitman, engineer, alumni, ballarat school of mines, ballarat college of advanced education, civil engineering scholarship, first female head of engineering, city of ballarat, urban water cycle, pitman benjamin engineering scholarship

Heather studied at the School of Mines and Ballarat College of Advanced Education and was awarded the Civil Engineering Scholarship in 1977. She graduated in 1978. Heather broke down barriers in engineering with an integrity that earned her tremendous respect and led to her becoming the first female Head of Engineering for the City of Ballarat. Heather pioneered sustainable design and was the first of a new breed of engineers to consider the urban water cycle in its entirety and not in isolated parts, a radical approach at the time. In her honour, the Pitman Benjamin Engineering Prize was founded, to recognise students like Heather, who have chosen not to accept the status quo, but instead to change the world to make it better for all.women of note, ballarat school of mines, ballarat college of advanced education, first female, head of engineering, city of ballarat, civil engineering scholarship, pioneered sustainable design, urban water cycle, pitman benjamin engineering scholarship

Promotional poster style invitation to University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating student "Designers' Dinner '04". Styled to look like letterpress. The NOVEMBER 9 type likely to have been originally provided by Sovereign Hill, as they are acknowledged on related materials. The magnet front matches the limited edition badges produced by students this same year. (29172). This square format poster used a multiple choice quiz to provide details of the event. Invitees met at the Wharf opposite door 1 at the Melbourne Exhibition Centre (at 5.45pm) and were literally ferried to the dinner, returned at 11pm. Dress was "Smart Casual". Two colour (red and black), two-sided folded poster, magnet originally attached within. (probably with double sided tape). Magnet consists of a 'badge' style front, made with faculty badge maker, and magnet attached to reverse.university of ballarat, federation university, graphic design, multimedia

A toothpick is a small stick of wood, plastic, bamboo, metal, bone or other substance used to remove detritus from the teeth, usually after a meal. A toothpick usually has one or two sharp ends to insert between teeth. They can come in both wood and plastic, and can also be used for picking up small appetizers (like cheese cubes or olives) or as a cocktail stick. Toothpicks are well known in all cultures. Before the toothbrush was invented, teeth were cleaned with hard and soft dental woods. The first toothpick-manufacturing machine was developed in 1869, by Marc Signorello. Another was patented in 1872, by Silas Noble and J. P. Cooley A small paper packet containing wooden toothpicksTRADE $ MARK / DOLLAR BRAND / STERILIZED / TOOTHPICKS / (chinese characters) / MADE OF BEST / WHITE BIRCH / QUALITY & PURITY / GUARANTEED / TRY ONCE USE / THEM FOREVER. wood, toothpicks, dental cleaning, dentists, timber, birch trees, signorello marc, noble silas, cooley j. p. , moorabbin bentleigh cheltenham, maret gardeners, early settlers,

This wetsuit was worn by surfer and 2000 world champion, Sunny Garcia (Haw), It was cut off Sunny when he collapsed on the beach during his heat of the 2004 Rip Curl Pro event at Bells Beach. As the Age reported at the time: "One who left the water in unhappier circumstances was three-time Rip Curl Pro winner Sunny Garcia, who forfeited his heat with American Taylor Knox because of a migraine-like condition that saw him taken to Geelong Hospital for tests. Garcia, who was leading the heat, rode in with nine minutes remaining and appeared to collapse on the beach, holding his head in his hands." This wetsuit was worn during the prestigious Rip Curl Pro at Bells Beach. It is a rare artefect from a major medical emergency at a world professional surfing contest.Sunny Garcia's wetsuit. Torn Hotline wetsuit, full length 3/2 steamer. Wetsuit is cut and torn.Hotline Wetsuits, Santa Cruz, Calif, Superflex 3/2 modelrip curl pro, wetsuit, sunny garcia, hotline, torn, collapse

This blazer was worn by Joyce Murphy at the Ballarat Teacher's College. David van Leeuwen decided not to have a blazer as he was older, and thought it too much like school days. He attended the Ballarat Teachers' College when 27 years, after serving in the army. Because he didn’t have a blazer he didn’t have anywhere to put the colours so he offered them to Joyce Murphy as they were going out together. There should have been a football embroidery as well, but Joyce Murphy didn’t want that on her blazer because it was too boyish. Gift of Joyce van Leeuwen nee Joyce Murphy, 2014A blue woollen blazer with pocket featuring the Ballarat Teachers' College logo, sports colours, and representation in tennis, basketball and hockey. The pocket is a dual one. Joyce van Leeuwen remembers: 'Towards the end of our College year, were were given written authorisation denoting our sporting teams, to take to Paterson & Powell for embroidery on our blazer pockets. On my pocket, the hockey sticks, the BB for basketball, as netball was then called, all mine. The tennis racquet is David's [van Leeuwen], as is the braid topping the pocket denoting the College colours. College colours were authorised for excellence in a chosen sport, and in our year, 1950, only two men's colours were awarded - David's for basketball and Neil Trezise's for football. Neil went on to play for the Geelong Cats [AFL football] and later was Victorian minister for Sport for some time.'ballarat teachers' college, blazer, joyce murphy, joyce van leeuwen, paterson powell, colours, embroidery, david van leeuwen, van leeuwen, costume, uniform, textiles

Note from Frances Warren. In the early 1930s the wireless was our lifeline. My parents usually listed to 3DB Renn Miller and Charlie Vaurd ran the Smile Away Club they were a funny pair. Their theme song went like this - 'Ten to seven let's be bright and gay, Ten to seven smile away smile away, A shilling that's the coin, that's all it costs to join, so join in the club and be a smile away' Robin Hood & His Merry Men was a programme for children and when you joined the girls became Maid Marion and the boys were Robin Hood of course. It was a great programme better than the modern ones.Certificate No. 6368 Vacuum Radio Feature Robin Hood and his Merry Men. 'Certificate of Membership - Frances Johns you have now been selected to become a Merry Member of Robin Hood's famous band. Inscribed on paper with illustration of Maid Marion. Vacuum Oil Company Pty. Ltd. Super Plume Ethyl, Plume Motor Spirit, Mobiloil, and Laurel Kerosene. Bordered with silver surround. Cream paper and black printing.documents, certificates

Robin Boyd’s unbuilt scheme for two residential towers for Carnich Pty Ltd in East Melbourne is one of his most striking late projects – remarkable for its daring scale, its indebtedness to the megastructural polemics of Paul Rudolph and Japanese Metabolism, and its prescience – a high-rise apartment building now sits on the same site. The drawing is spectacular: trays of space are held aloft on angled concrete props that branch off trunk-like vertical slabs. With balconies and spandrels highlighted in white, the scheme’s dynamism echoes El Lissitzky’s mad Wolkenbugel (‘Skyhooks’) while also signalling a tragic last hurrah before Boyd’s 1971 death. Philip GoadIncludes sketch of two structures and surrounding flora.Inscribed upper left of recto, "ROBIN BOYD'S SKETCH FOR / COMBINED PROJECT 60-64 / CLARENDON ST. + CORNER SITE"architecture, mid-century modern, emigre, rmit design archives

SS Roma was laid down in 1942 at the Seattle-Tacoma SB Corporation plant and was launched as “Glacier” on September 7, 1942. Like quite a few ships, it was during her building as a C3 cargo ships that she was transferred under the “Lend Lease Agreement” to the Royal Navy and redesigned and built as the escort aircraft carrier HMS Atheling. After the war she was purchased by the Lauro Lines and rebuilt as the modern passenger liner Roma. She departed on her maiden voyage from Genoa bound for Australia in August 1951 arriving in Fremantle on October 1, continuing to Melbourne and arriving in Sydney on the 17th. She then went north to Brisbane before returning home. Mrs B SmythA framed oil painting of the migrant ship SS Roma.Romass roma, migrant ships

Fur hats were a necessary accoutrement for fashionable women who wore furs. Typically, the fur hat might be purchased from the furrier to match the colour and often the pelt of the coat or stole, rather than from a milliner. Hats, like coats and stoles were often dyed to achieve uniformity of colour. Tastes in the colour of furs also changed over time, so hats, coats and stoles could be updated to match prevailing tastes. Until the 1960s in Australia, there were many furriers, who usually brought from Europe experience in identifying fur types. With the decline in the fur industry, these skills are noticeably scarcer in Australia today.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Circular, brimless women's fur hat.Nilheadwear, women's hats, fur hats, furriers

This folder is contained in a plastic slip-cover and labelled 'Harold Hugh Jeffrey'. The folder itself is padded and covered with a grey suede-like material, featuring a velcro tab to keep it closed, with gold-tipped corners and the emblem of the Official Secretary to the Governor-General embossed in gold on the front. It opens to reveal on the right a laminated certificate appointing Hugh Jeffrey as a member of the Order of Australia, signed by Bill Hayden. On the left side is a slip pocket containing four items, A booklet entitled A Guide to the Wearing of Insignia, a booklet entitled Order of Australia, a pamphlet entitled Order of Australia and a booklet entitled Commonwealth of Australia Gazette Special: The Order of Australia Insignia Ordinance. 1 plastic folder with 3 booklets and 1 investiture letterHarold Hugh Jeffreyhugh jeffrey, awards