Letter To the C.R. Officers and Brethren of Court King of the Forest written on cream paper and dated June 5 1872. Letter is a reference for Bro Joseph Andrews. Letter is stamped with a black powder.Signed by Geo H. Clarke Sec. Court Talbot 3879societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court talbot, court king of the forest, joseph andrews, geo h clarke

Printed account from Thomas Oakley, Furnishing Undertaker, dated March 15 1872 for Coffin Hearse Grave & ?ester. For burial of late Brother Goeler, Signed Paid T. Oakley. Account has black border on sides and top. Account has dividers with set square and a hand with a heart in the centre on the left and a part moon with a face surrounded by seven stars and two hands shaking on the right.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, thomas oakley, br goeler

Mackay collection - Cardboard box Slazenger Plus Golf Balls, red,blue and black with gold lettering, contains note reading: From Miss Flora Mackay 93 Forest St Bendigo.recreations, sports, golf

Book of cheque? Stubs. Printed blue pages with the heading Court King of the Forest No. 3770. Front and back covers have grey, dark grey and red/pink marbled pattern with grey/black cloth tape on the spine and 1.0 cm of front and 3.5 cm of back covers. Started April 1876 and last entry 24/1/1877. Appears to be a Receipt book for the Independent Order of Foresters - Received from Bro …Woodward the sum of ..being …days sick pay signed Bro…societies, order of .., correspondence, ancient order of foresters no. 3770 collection - cheque book stubs, court king of the forest no 3770

Colour photographic print in Black frame and mushroom Brown Mat. Picture Depicts the clearing of space for headquarters construction. One man using a jackhammer on rock while another sits with rifle beside him. Back ground is bush/ forest and cleared bushland.My Vietnam Collection. Task force headquaters construction - 1966 Peter Fischer. On back - Gift horse gallery / fine art original works by local and interstate artists. Professional picture Framers. CNR Paxton st & 130 Main North Rd. Clare 5453. Phone / Fax / Mob.photograph

This drawing was done by Andy Freer, founding member and Artistic Director of Snuff Puppets. It forms part of the creative process to develop a new show, 'Forest in the Night', exploring themes of evolution, chaos theory, Darwinism and the survival of the fittest. More than 25 puppets were created and transformed into new strange creatures. This drawing was submitted as part of a pitch to the 1995 Melbourne International Festival of the Arts program, where it was performed as a large outdoor spectacle in the round. Please visit http://www.snuffpuppets.com/shows/Forest_in_the_Night for more information.The significance of this drawing is that it is a rare, original demonstration of the creative development processes of Snuff Puppets' unique puppet creation and building.A black ink drawing on A5 paper detailing the creative concepts for puppet design and development for a new production entitled 'Forest in the Night'art, environment, ink drawing, snuff puppets, puppetry, theatre, creative, puppet, performance, imaginery

A black and white pamphlet titled, 'Progressive Stewardship, 1963. Build for the Church of Tomorrow.' An added statement on the title page is 'The Church is People.' This programme provides guidelines for church stewards during the years 1963-1966. Item part of Mr. Ken Hesse Collection donated by Mr. James Lerk.church, celebration, presbyterian church forest st bendigo, ken hesse collection, collection, bendigo, church, christianity, religions, organisation

Black and white photograph recording the visit of his Excellency Sir John Fuller, Bart., K.C.M.G. and party to the Central Red, White and Blue Mine, Bendigo 10th June, 1911. There are two X beneath two people marking the Mayor and Mayoress of Bendigo William Henry Wilkie and Mary (nee Clough). This was in their first term as Mayor and Mayoress, their second term was in 1914/15. With the compliments of Peter McBride Minister of Mines and Forests. The photo was taken by W. H. Robinson, Bendigo. Donated by A. Wilkie, grandson of former Mayor Bendigo, William Henry Wilkie.business, mining, central red, white and blue mine

Black cover book, wire binding. Pages in reports numbered individually, overall approx 250 page report. On front: "Fosterville Gold Project' Project upgrade, EES Technical Appendix B. Central North, Central Ellesmere, Harringtons Hill." Page 1 'Perseverance Exploration Pty Limited' Book contains technical appendices. Topics: hydro geological assessment; surface drainage study, noise emission to residential properties, flora survey, tailings dam site; flora survey Wellesford Forest; Daley's Hill Plant List; diurnal Avifauna Survey - Wellesford Forest; survey of vertebrate fauna - Wellesford Forest; brief summary of fauna - Daley's Hill, Axedale, Aboriginal Archaeological survey; archaeological investigation Fosterville; traffic survey - Fosterville Sulphide Project; traffic report.bendigo, mining, fosterville gold mine

Black and White Photo of grade 5 & 6 pupils, believed to be at the Long Gully Primary School in the 1880's, The girl in the second row fourth from the right is believed to be Beatrice Fulton whose family lived at 182 Forest Street Bendigo, Photo on a Cardboard mount,person, group, pupils, long gully primary school, long gully, schools, pupils, beatrice fulton

Black and White Photo of the Trades Hall Buildings in View Street. Bendigo Business College Logo is painted on the front and side of the buildings. Markings upon rear of the photo read 'Guide to Golden Bendigo - The Forest City', 'Accountancy', 'Book-Keeping', 'Typewriting', 'Shorthand', 'Classes day and evening'buildings, commercial, trades hall, bendigo business college, trades hall, view street, view st

Pair of black timber lockable doors which are hinged and open. Inside doors black frame with red stripe. Lettering gold on green background, 'PCR' above LH door. Outside - main cabinet area 61cm wide , 76cm long and 12cm deep. Top & bottom pieces approximately 70cm wide & 16cm deep at base. Extra fancy piece at top is broken & unattached. Inside - dispensation certificate from the High Court with one eye depicted. LH side names : Scopes T 2, Nicoll jnr, Wiseman Hy 3, Mc Geeghan Ed 8, Salmon Wm H, Shont Wm, Donaghue Mel, Breustedt Hy 3, Nichels Chs 4, Hulme Wm, Tidyman Jn 2, Egan Geo 12, Mc Laren FS 8, Waddell JND, Birtles Pr, Wiseman WH, O'Neill Jas, Pope Wm, Cook ChS, Lorrimer JSL 4. RH Side : Yeatman Jas, Tresise WJ, Yeatman S.M.L, Lorimer Wm 5, Batters Wm 2, Malsem Alex 2, Downs Sml N2, Dodds Geo, Currie D, Nl C, Currie Jnd. Certificate - framed, authority from Plymouth, Devon, bros Nicoll, Little, Foster of Stanley, 28th August 1865. b/w emblem with 2 men each side of shield including deer, horn, hound and background of forest.

A black and white photograph of Capt Bernie Forest in his 161 (Indep) Recce Flt 'Possum' Cessna aircraft is directed to a parking bay by a member of the unit's ground staff, following an extended mission over the jungles of Phuoc Tuy searching for signs of NVA/VietCong operations.photograph, capt bernie forrest, 161 recon flt, phuoc tuy, nva/vc, gibbons collection catalogue

Black & white photograph of the Harold Holt Pool at Vung Tau.Sticker on back of photograph _ Alex M. Gall. 166 Forest Rd., Ferntree Gully, Vic. 3156harold holt pool

black and white photograph fair conditionAt Sherbrook Forest - Vic. Picnic with family and friends. Dad, Dot Sheppard, Geoff Sheppard, Helen Dunbar, Mavis Sheppard, Melita Smith, at Burnam Beeches, Sherbrook Forest. N. took Pix. April 1996. Helen is only survivor now 87. 738

Climax geared locomotive No. 1694 in active service on special occasions - stored at Emerald Station A Miraculous Survivor Climax locomotive No.1694 is a miraculous survivor of a rare breed of steam locomotive. For about 100 years from the mid-1850s sawn timber was carted from Victorian sawmills to the nearest railway station by timber tramway. These tramways were generally very rough, steeply graded, sharply curved, and of narrow gauge. Many had wooden rails, and horses provided haulage. The better ones used steam locomotives. In all about fifty steam locomotives are known to have worked on Victorian timber tramways. These locomotives were usually somewhat peculiar - made to cope with arduous, rough conditions, rather than speed. Climax locomotive No.1694 is the only one of these locomotives to survive intact. It was built in 1928 by the Climax Manufacturing Company, Corry, Pennsylvania, USA, for the Forests Commission of Victoria. The distinctive feature of the Climax locomotive is that the cylinders do not directly connect to the driving wheels. Instead they drive a cross shaft near the centre of the locomotive. From there the drive is transmitted to the small driving wheels through rotating shafts, universal joints, and bevel gears. The driving wheels are mounted in two four-wheel bogies so that they can easily follow sharp curves in the track. None of these features are found in normal steam locomotives. The result is a locomotive that is extremely powerful for its size, and that will cope with sharp curves and steep grades with ease. But this is at the cost of speed, Climax locomotive No.1694 is just about flat-out at 13 km/h (8 mph). Climax Locomotive Built in 1928 for the Forests Commission of Victoria and painted all-over black with the name CLIMAX painted on the sides of the cab in white block letters, this locomotive was issued to the Tyers Valley tramway which branched off the Moe to Walhalla line at Collins Siding. This locomotive was withdrawn from service in 1949 following the closure of the tramway and in 1950 it travelled from Tyers Junction to Collins Siding to Erica where it remained stored until 1965. Loaned to the Puffing Billy Preservation Society for its Steam Museum, it was taken to Menzies Creek in 1965 where it remained until 1982 when the Emerald Tourist Railway Board bought it and transferred it to Belgrave for restoration. It was returned to service for special use on the Belgrave to Gembrook line in 1988 painted in its original all-over black livery, except that the word “Climax” on the sides of the cab was now painted in the style of the Climax Manufacturing Co., a style that this locomotive had never carried.Historical - Industrial railway - Forests Commission of Victoria, Timber Logging Climax Locomotive Climax geared Steam locomotive made of steel and wrought iron Climax 1694climax locomotive works, climax, geared steam locomotive, puffing billy, climax locomotive no. 1694, steam locomotive

POW's from Graytown in work party cutting wood in Rushworth forest. Foam backed copy in file.Black and white photograph of 4 men working at a saw cutting wood. Trees in background.graytown work party, ww2 pow's

The school year book for the 1926 academic year. It contains 1926 prefects, sports results, scholarship winners, student workA booklet of 16 p. The cover is in forest green card printed in dark brown. Some black and white illustrations and photographs are included.On the front cover in pen: Les Hill, 46 Elphin St, Newport.williamstown high school, yearbooks, high tide

Black powder splitting guns were commonly used to split large logs into more manageable pieces before the advent of excavators and front-end loaders in bush logging operations. A typical splitting gun used in Victorian forests was a piece of high-grade steel about 1-1/2 to 2 inches in diameter and about 16 inches long, and slightly tapered at one end. They had a ¾ inch hole drilled about 9 inches deep into the centre of the shaft with a small pilot hole drilled from the outside to load the fuse. The tube was carefully loaded with an amount of black gunpowder using a funnel and spoon. Experience being the guide on how much powder to use, which depended on log size, species and difficulty of splitting the wood. The hole was stopped with a piece of wadded paper and the gun positioned at the end of a length of the log to be split. The splitting gun was then belted into the log with a large wooden maul or even the back of an axe to a depth of about 3 to 4 inches. There were often markings as a guide. This also had the effect of tamping the black powder inside the gun. Preferably the gun was backed up by another large log to absorb the shock and avoid it flying off in the bush somewhere. I have seen guns where a length of string and coloured flag could be attached to help find them. A length of fuse was then inserted in the small hole and lit. Kaboom !!!! Needless to say, the splitting gun was a dangerous implement.Commonly used to split pulpwood but now rareBlack Powder Splitting GunFive marking rings used to guide how far the gun was in the logforest harvesting

Pulpwood was often split by hand or with black powder splitting guns into more manageable sizes and cut into 8 foot lengths (or billets). Billets were first stacked endwise to drain the sap and lighten the load before they were loaded by hand onto flat bed trucks for transport to the mills. This long length metal hook was used to pull and manoeuvre the pulpwood billets onto the truck. The advent of excavators in logging operations in the 1970s led to the loading and carting pulpwood in long tree lengths.Long steel tool with handle on one end and hook on the other.

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

Created during her residency at Laughing Waters, Ash, the performance is a response to concurring world events and continues Orr's practice of using her own body as the site for creating provocative imagery. In Ash, she explored a familiar theme - our relationship with the environment. The audience was are asked to peer inside a rough wooden hut where Orr laid motionless on a coffin-like slab. The floor was strewn with forest litter and her own body, covered in ashes, carried text messages as reflections on human suffering, in particular the plight of refugees in Australia.Photograph - cibachrome depicting the artist Jill Orr in a reclined position, swathed in fabric. There is black text all over her body carrying messages about war and the plight of refugees.laughing waters, jill orr, ash

Small black rectangle box size of match box.Brymay Forests Pty Ltd..Match Print Factory - Opening by the Honorable R.J.Hamer E.D. M.P Yarrawonga, 4th Oct 1974