9 members attended the minister's breakfast celebrating the sesquintennial of the M&HB Railway & Pier, and others joined them at noon to see the "Making Tracks" exhibition. Both exhibition and the book "Welcome & Farewell" were launched at the breakfast, and also plaques for Station Pier, PMR Station & Flinders Street Station. Ref items 1947.01-.13 for presentation material. 1946 for book launched at this event.Set of 24 photos taken at 'Making Tracks' exhibition launch breakfast at Station Pier celebrating 150th anniversay of Pier & railway (12-09-2004). Includes: .01: Launch of "Farewell & Welcome" with Transport Minister Peter Batchelor and Jill Barnard with Sonia Jennings. .02: Jill Barnard presenting the book to PMH&PS Secretary Pat Grainger. .03 & .04: RHSV launch of 'Making Tracks'. .05 & .06: Meyer Eidelson & Pat Grainger at exhibition. .07: Norah Howard & Lois Daley at exhibition. .08: Norah Howard & Pat Grainger. .09-.24: Exhibition details.transport - railways, celebrations fetes and exhibitions, arts and entertainment - literature, barnard, jill, jennings, sonia, norah howard, meyer eidelson, pat grainger, batchelor, peter

Ten coloured photographs taken in 1988 by Carolyn Goldberg (.01)&(.02) Photos of the Port Melbourne Yacht Club (pre fire). One is taken at distance. (.03)&(.04) Photos of Princes Pier locked up and abrred to public access (.05)&(.06) Photos of cranes on Station Pier. One taken at greater distance from Princes Pier (.07) The engine works building on future Beacon Cove site (.08)&(.09)Two views of the Centenary Bridge. One at greater distance. (.10)Photo of the area now known as Beacon Cove with City in distant backgroundpiers and wharves - station pier, piers and wharves - princes pier, societies clubs unions and other organisations, sport - yachting, built environment - civic, built environment - domestic, centenary bridge, carolyn goldberg, commonwealth engine works, port melbourne yacht club, pmyc, cranes (stodart?), liardet's beach, beacon cove

Six colour photographs at the City of Port Phillip mayoral election of Janet Bolitho on December 8 2005 at St Kilda Town Hall. .01 - PMHPS group (from left) Norah Howard, Jack Bolt, Pat Grainger, Janet Bolitho, Anne Callaghan, Graham Bride, Glen Stuart, Margaret Bride (also scanned) .02 - Janet Bolitho and David Spooks CEO, City of Port Phillip .03 - Janet Bolitho and Liana Thompson (also scanned) .04 Janet Bolitho and Graham Bride .05 - Glen Stuart and Janet Bolitho .06 - Pat grainger and Janet Bolitholocal government - city of port phillip, celebrations fetes and exhibitions, politics, janet bolitho, pat grainger, liana thompson, graham bride, margaret bride, glen stuart, jack bolt, norah howard, anne callaghan

Pittock collection: two metal carpenter's squares for set out * green painted adjustable set out square, with imperial and metric scales, and level bubble, 305 mm L x 120 mm W. Marked Pittock with marker * adjustable set out for full range of angle set out. steel wood and brass construction. Marked Stanley, patented 9-6-04. Tool 204-325 mm L x 25 mm W x 20 mm D Items stored in Pittock box coach builder's box, reference 13000.1.

Kodak Retina 1a 35mm bellows camera with extending bellows, in a leather case (.02) and an Instruction book (in German .03). The camera has a chrome trim with leatherette over the rest of the steel forming the body of the camera. It has a Retina Xenar F 2.8/50mm, Schneider - Kreuznach 2668277 lens covering speeds from B (bulb) to 1/500th of a second and an aperture opening of f2.8 to f16. Provision for a hot flash and various film speeds. Film advance lever with indicator showing number of photos taken. An old cartridge (.04) is loaded in the camera. Four pieces make the set.Kodak Retina Camera|Retina 1a|Kodakphotography, cameras

1298 - Booklet with dark green embossed covers on card and 20 pages printed both sides, stapled with two steel staples. Gives details with an index of the rules for General, accidents etc, tramway operations, motormen and conductors. Three index pages and 14 pages of rules 1 to 123. Title of book embossed in gold on cover with SEC logo. 1298.1 - ditto, used - was issued to Terry Dix No. 29. Added 16/10/04 - after being on display in cabinet in 39 since 1992. See also Reg Item 3117 for other copies of this item.1298.1 - on inside of front cover in blue ink "Terry Dix / No. 29"trams, tramways, secv rules, rules, motormen, conductors

Set of three photocopies of instructions for Alstom Preston Service Centre. .1 - "Pantograph Lock Down Procedure" - 1 A4 sheet - describes the procedure for locking the pantograph down and then moving it within the workshops safely - dated 10/10/2003. .2 - "Citadis Bogie Removal Procedure" with sub title "on PWS jacks" - 2 pages - dated 08/04/2004. .3 - "Citadis Preventative Maintenance Tasks" - 7 page A4 document - listing the A, B and C exams for C class trams, prepared by United Group Rail. .4 - as for .3, but printed on A3 sheets, stapled.in pencil on top of .1, "Copy only to John Prideaux" On rear of .1 in ink "Citadis Maint (Mileage graded) "A". "B" and "C" service. c2007.trams, tramways, preston workshops, maintenance, c class, pantographs, bogies, citadis

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Eltham Gateway, 860 Main Road, Eltham Situated on a large block of approximately 1,442 sq metres, it was last sold for $1.4 million 30 Oct. 2016. The premises had been left in an abandoned state for some time and on the evening of 6 July 2021 it was attended by the CFA and 8 emergency vehicles due to a fire. Breathing apparatus was required due to hazardous smoke conditions. The building was reportedly demolished by August 2021.Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway

Eltham Gateway, 860 Main Road, Eltham Situated on a large block of approximately 1,442 sq metres, it was last sold for $1.4 million 30 Oct. 2016. The premises had been left in an abandoned state for some time and on the evening of 6 July 2021 it was attended by the CFA and 8 emergency vehicles due to a fire. Breathing apparatus was required due to hazardous smoke conditions. The building was reportedly demolished by August 2021.Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway

Item purchased on eBay 2016. Belonged to Terry Pepperell (dec 2013), an avid school badge collector and an expert in school memorabilia. This pendant was possibly designed by Terry. Terry was a past President of the Numismatic Association of Victoria and a medal designer in his own right. His significant private collection of school memorabilia was auctioned after his death. This piece was purchased by James McLachlan-Troup and sold to the school via eBay. No particular significance to the school apart from its creative use of school memorabilia. Small enamel Ballarat College crest on a Stokes pendant backing with linkterry-pepperell

The photograph shows a ship visit. It is historically significant and thought to be one of a series of photographs linked to a publicity campaign circa 1955-1956 promoting the work of the Mission. The campaign partly inspired by the Centenary year of the Mission in Australia (1956) also resulted in the production of a black and white short film "The Flying Angel", featuring and Padre Oliver and the work of the Mission was deposited in 2016 with the Australian Centre for the Moving Image, (ACMI) Federation Square, Melbourne.Padre Frank Oliver, Chaplain to the Mission to Seafarers 1930 - 1960 led the Mission through a period of significant changes through the mid 20th C. This image is one of a series of key images showing the work of the Mission Chaplain in the Post WWII period. Father Frank Oliver wearing uniform including officers cap walking up a gangway and being met by a group of four men. There is a fifth man standing slightly to the left of the photograph.Discolouration on the bottom left and top centre of the photograph.uniform, machinery, ship, crew, gangway, deck, handshake, chains, rope, buoy, pulleys, rivets, padre oliver, frank leslie oliver, mission to seafarers, mission to seamen, seamen's mission, robin kent, kerr bros studio

This is a photograph of the Birchip Rifle Club taken at Birchip on 18th September, 1915. Most names are on the back of photo. Given to the Birchip Historical Society by Mary Fielding in 2016. Names..Harold Bolden, P Matthews, C.Sheean, a.Wilson, Frank millar, F.O'Donnell, Andy Fraser, M.O'Donnell, J.O'Donnell, J.R.McLeish, B.H.Warne,C.Bull, J.Hillgrove.W.H.Watts,W.Clover, E.Sanders,J.Busteed, F.White, Jas Coffey, S.CarlisleN.McDoual, J.Lockwood, P.Williams, H.S.Mitchell, J.M.Kensley, R.C. HannahThis is a photo of the Birchip Rifle Club taken after at an event at Birchip. Photo of rifle club mounted on cardBirchip Rifle Club 18th September 1915. All names on back.birchip rifle club, photograph, birchip, 1915 photo

Used to sterilise ambulances after carry patients to the former Fairfield Infectious Diseases Hospital. A mixture of water and disinfectant was heated and blown through the ambulance for a minimum of 10 minutes after an infectious patient was moved. Equipment was held at either the Fairfield ambulance station or at the Fairfield Infectious Diseases Hospital. Units were in use from at least 1962 through to the 1980s. Source Chas Martin curator AHSV 29 April 2016Aluminium electrical unit with swivel top portion CHALLENGER FOGMASTER TRI-JETinfectious diseases

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Centred on present day Marconi Court, Research bounded by Maroondah Aqueduct to north, Thompson Crescent to south, Joselyn Drive to east and Eltham Research Oval to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :486 Project : MELBOURNE (1963) PROJECT Run : 5 Frame : 62 Date : 04/1963 Film Type : B/W Camera : RC8 Flying Height : 5100 Scale : 9600 Film Number : 1805 GDA2020 : 37°42'24"S, 145°10'43"E MGA2020 : 339434, 5825157 (55) Melways : 22 F3 (ed. 42)aerial photo, neil webster collection, 1963-04, joselyn drive, marconi court, melway 22f3, research (vic.), research oval, thompson crescent

Centred on present day Maroong Drive, Research bounded by Allendale Road to north, Thompson Crescent to south, Eltham College to east and Parsons Road to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :985 Project : MELBOURNE 1972 Run : 26 Frame : 193 Date : 04/1972 Film Type : B/W Camera : RC10 Flying Height : 5700 Scale : 9600 Film Number : 2636 GDA2020 : 37°42'04"S, 145°10'33"E MGA2020 : 339187, 5825794 (55) Melways : 22 F1 (ed. 42)aerial photo, neil webster collection, 1972-04, allendale road, eltham, eltham barrel, eltham college, maroong drive, melway 22f1, parsons road, research (vic.), thompson crescent

Centred on present day Ryans Road at Sandra Avenue, Eltham bounded by Progress Road to north, Brougham Street to south, Bible Street to east and Outlook Crescent to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :985 Project : MELBOURNE 1972 Run : 27 Frame : 48 Date : 04/1972 Film Type : B/W Camera : RC10 Flying Height : 5700 Scale : 9600 Film Number : 2636 GDA2020 : 37°42'41"S, 145°08'38"E MGA2020 : 336392, 5824574 (55) Melways : 21 H4 (ed. 42)aerial photo, neil webster collection, 1972-04, eltham, bible street, brougham steet, melway 21h4, outlook crescent, progress road, ryans road, sandra avenue, montmorency

Centred on present day Olympic Avenue at Grand Boulevard, Montmorency bounded by Meruka Drive to north, Main Road to south, Main Road to east and Alban Street to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :985 Project : MELBOURNE 1972 Run : 28 Frame : 206 Date : 04/1972 Film Type : B/W Camera : RC10 Flying Height : 5700 Scale : 9600 Film Number : 2635 GDA2020 : 37°43'21"S, 145°07'46"E MGA2020 : 335154, 5823329 (55) Melways : 21 E7 (ed. 42)aerial photo, neil webster collection, 1972-04, eltham, alban street, grand boulevard, lower plenty, main road, melway 21e7, meruka drive, montmorency, olympic avenue

Centred on present day Mays Road at Stringybark Road, Eltham bounded by Nyora Road to north, Yarra River to south, Reynolds Road to east and Bible Street to west. Historic Aerial Imagery Source: Landata.vic.gov.au Aerial Photo Details: Project No :985 Project : MELBOURNE 1972 Run : 28 Frame : 209 Date : 04/1972 Film Type : B/W Camera : RC10 Flying Height : 5700 Scale : 9600 Film Number : 2635 GDA2020 : 37°43'33"S, 145°09'28"E MGA2020 : 337647, 5823013 (55) Melways : 22 B8 (ed. 42)aerial photo, neil webster collection, 1972-04, eltham, bible street, mays road, melway 22b8, nyora road, reynolds road, stringybark road, yarra river

This object relates to Roy Edmund MARTIN. He was born on 28/04/1919 in Ballarat, VIC. Roy Edmund served in the Army (VX15647) enlisting on, 17/05/1940 in Ballarat, VIC before being discharged from duties with the 2/9 FLD COY ENGNRS as a Army Non-Commissioned Lance Corporal / Lance Bombardier (LCPL/LBDR) on 05/09/1945. Roy Edmund MARTIN was not a prisoner of war. His next of kin is E MARTIN. Roy Martin was awarded the Africa Star, Atlantic Star, Australia Service Medal 1939-1946, War Medal 1939-1945.Blue Velvet Display Tray "WW2 Service Medals"second world war (ww2), 1939 - 1945, medals, ballarat rsl, ballarat

This object relates to Roy Edmund MARTIN. He was born on 28/04/1919 in Ballarat, VIC. Roy Edmund served in the Army (VX15647) enlisting on, 17/05/1940 in Ballarat, VIC before being discharged from duties with the 2/9 FLD COY ENGNRS as a Army Non-Commissioned Lance Corporal / Lance Bombardier (LCPL/LBDR) on 05/09/1945. Roy Edmund MARTIN was not a prisoner of war. His next of kin is E MARTIN. Roy Martin was awarded the Africa Star, Atlantic Star, Australia Service Medal 1939-1946, War Medal 1939-1945.Blue Velvet Display Tray "WW2 Service Medals"second world war (ww2), 1939 - 1945, medals, ballarat rsl, ballarat

This object relates to Roy Edmund MARTIN. He was born on 28/04/1919 in Ballarat, VIC. Roy Edmund served in the Army (VX15647) enlisting on, 17/05/1940 in Ballarat, VIC before being discharged from duties with the 2/9 FLD COY ENGNRS as a Army Non-Commissioned Lance Corporal / Lance Bombardier (LCPL/LBDR) on 05/09/1945. Roy Edmund MARTIN was not a prisoner of war. His next of kin is E MARTIN. Roy Martin was awarded the Africa Star, Atlantic Star, Australia Service Medal 1939-1946, War Medal 1939-1945.Blue Velvet Display Tray "WW2 Service Medals"second world war (ww2), 1939 - 1945, medals, ballarat rsl, ballarat

This object relates to Roy Edmund MARTIN. He was born on 28/04/1919 in Ballarat, VIC. Roy Edmund served in the Army (VX15647) enlisting on, 17/05/1940 in Ballarat, VIC before being discharged from duties with the 2/9 FLD COY ENGNRS as a Army Non-Commissioned Lance Corporal / Lance Bombardier (LCPL/LBDR) on 05/09/1945. Roy Edmund MARTIN was not a prisoner of war. His next of kin is E MARTIN. Roy Martin was awarded the Africa Star, Atlantic Star, Australia Service Medal 1939-1946, War Medal 1939-1945.Blue Velvet Display Tray "WW2 Service Medals"second world war (ww2), 1939 - 1945, medals, ballarat rsl, ballarat