Mary Joyce Abbott made the quilt in 1972 in Bendigo. The quilt was constructed on Mary’s old Singer sewing machine with knee-action drive. Mary gifted the quilt to her daughter Sandra who used it on her bed for about a decade then retired it when she purchased her first doona. Mary was an excellent seamstress and a very early winner of Melbourne Show quilt prize with two single log cabin style quilts. In the mid-1980s Sandra roughly stitched Mary’s name and the date onto the back of the quilt.The quilt is constructed out of crazy quilt blocks, machine sewn, and made from factory offcuts of velveteen in a kaleidoscope of colours. The top end has squared edges and the bottom end has rounded edges.Mary Abbott \ 1972 (sewn into back of quilt)quilts, textiles, bed, sewing

This wagga style blanket was made by May Shortte using blanket samples from Solomons department store, Geelong (now Market Square Shopping Centre). May Shortte is the grandmother of Emily McNeight. Part of a collection of three blankets donated by Emily McNeight.Blue, orange, green, yellow, purple and grey wagga style blanket made with off cuts of blankets.wool, blankets, wagga, solomons, geelong, may shortte, samples

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

Educational booklet for school children entitled "The Importance of Being Larry". The book is designed to teach children about the shearing of sheep and exporting of wool. Published by the Australian Wool Corporation, Melbourne.Educational booklet for school children entitled "The Importance of Being Larry". Written in cartoon style, black and white, with a colour cover, front and back. Inside the front cover is a lift out page titled "AUSTRALIAN WOOL CORPORATION. LIBRARY. THE WOOL INDUSTRY: A READING LIST OF STUDENTSwool growing, wool - transportation, wool sales - export

Educational booklet for school children entitled "Larry's Learn to Knit Book". The book is designed to teach children how to knit with wool. Published by the Australian Wool Corporation, Melbourne.Educational booklet for school children entitled "Larry's Learn to Knit Book". Written in cartoon style with yellow background featuring black and white drawings on top. Wool is Pink. The back cover is a Larry's Learn to Knit Certificate.knitting

For nearly a century, Paris was the most important centre for textile design. From all over the world textile entrepreneurs came to Paris for inspiration. From the 1930s, style services developed in Paris in which companies collected the latest textile samples and circulated them around the world. Subscriptions to this service was expensive, but it not as expensive as going to Paris and other places where new trends arose. Textile designers, in Geelong and Melbourne, subscribed to books such as John Claude Freres books to get the latest colour fashions.Unbound book comprised of 114 separate pages of fabric samples from John Claude Freres.fashion, john claude freres

New York: Reporter Publications, 1953-1983. Hardcover. A broken run of this remarkable publishing venture, providing insight into the fashion of the day, fabric swatches, history of textile design, interviews with designers, etc.18 unique magazines containing multiple years. An invaluable reference tool for researching American lifestyle, tastes, fashion, style and fabrics as they evolved from the end of World War II to the dawn of feminism. With real vintage fabric swatches in each issue. Each issue is profusely illustrated with color photography and fashion illustration, as well as with beautifully designed covers by important artists. Such design magazines were utilised by Australian designers to help inspiration for the upcoming season's fashion. Such magazines were not cheap, compared to an international business trip however, they are seen as affordable to the point of being invaluable. 18 unique magazines from American Fabrics. First issue is from 1948 with latest from 1968. Colourful external covers with internal pages containing a mixture of black & white pages, colour pages and fabric swatches. Images of front and back cover are visible within media as well as contents of all 18 copies, particular articles of interest are obtainable by contacting the National Wool Museumtextile design, 1940s-1960s

Twenty page book with black and white printed text and graphics. The front cover features a colour image of a man and a woman wearing matching knitted jumpers featuring an emu motif. Front: [printed] 1003 / PRICE / CODE / H / Patons / H A N D K N I T S / PATONS 8 PLYSpattern books, pattern, emu, australiana, knitting, patons, handknits, craft, style, design

Lin ONUS (1948-1996) Language: Wiradjuri / Yorta Yorta Lin Onus played a pivotal role in the recognition of Aboriginal art as an expression of a contemporary and dynamic living culture. Prior to his premature death at just 47 years of age he was a prominent, strident, yet non-confrontational agent in renegotiating the history of colonial and Aboriginal Australia. His father, Bill Onus, was the founder of the Aboriginal Advancement League in Victoria and a prominent maker of artefacts in Melbourne. As a young Koori growing up, Lin lived in a cultural environment that included exposure to visiting Aboriginal artists, including Albert Namatjira. He began his artistic life assisting his father in decorating artifacts, went on to develop skills working with metal and painting with air brush as a panel beater; and by 1974 he was painting watercolors and photo-realist landscapes. In the 1970's he completed a set of paintings on the first Aboriginal guerrilla fighter Mosquito, which holds pride of place on the walls of the Advancement League in Melbourne, to this day. Lin Onus was a largely self-taught artist. Particularly important in his development was his visits to Garmedi (Arnhem Land) starting in 1986. Jack Wunuwun, the Yolngu artist, introduced him into the Murrungun-Djinang clan and gave him permission to use some of traditional images in his paintings. His cultural education on the Aboriginal side was also provided by visits to Cummeragunja with his father, and stories told by his uncle Aaron Briggs, known as 'the old man of the forest' who gave him his Koori name - Burrinja, meaning 'star'. They would sit on the banks of the Murray River within view of the Barmah Forest, Lin's spiritual home, the subject of many of his later paintings and his final resting place. Lin's father had been of the Yorta Yorta people from the Barmah Forest country, and Lin also used images from this area in his paintings. The images in his works include haunting photorealist portrayals of the Barmah red gum forests of his father's ancestral country, and the use of rarrk cross-hatching-based based painting style that he learned (and was given permission to use when in Arnhemland). His painting Barmah Forest won Canberra's national Aboriginal Heritage Award in 1994. (http://www.cooeeart.com.au/aboriginal_artist/lin_onus/A, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition silkscreen.Signed 'Onus' lower right (posthumously by Tiriki Onus) Edition 68/80art, artwork, lin onus, onus, printmaking, screenprint, aboriginal, dreaming, frogs, available

Albert E. WILLIAMS (1899-1986) Born Victoria, Australia Albert Edward Williams was among the first to undertake the five-year, Technical Art Teacher’s Certificate (TATC) at the Ballarat Technical Art School in 1915, with work placement at the Ballarat Lithographic company. Williams taught for several years before he was selected to undertake further teacher training at the Working Men’s College, Melbourne, in 1926. He returned to teach at Ballarat in 1928, facilitating many student activities, while pursuing the arduous Art Teacher’s Certificate. From its inception in 1914, it was 30 years before the first candidate achieved the certificate’s exhaustive requirements. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Mounted original illuminated artwork in Celtic style"Design for Title Page, in Historic Style of Ornament." "Submitted by Albert E. Williams, Technical Art School, Ballarat, for Art Teacher's Certificate" "Celtic Art. A treatise on the history and peculiarities of Celtic Art with numerous illustrations in colour taken from ancient national manuscripts in the British Museum and other libraries." "Ballarat A.D. 1936". Monogram of AW forms part of the artwork.art, artwork, albert e. williams, celtic art, ballarat technical art school, art teacher's certificate, illumination, title page, design

Jeff WOODGER Born Bendigo, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed oil on paper landscape with river in the foreground.art, artwork, jeff woodger, alumni, landscape, available

Jeff WOODGER Born Bendigo, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, clunes, landscape, artist, jeff woodger, alumni

This honour board commemorates Victorian Postmaster General's Department workers who served in the First World War. A total of 3,726 employees of the Postmaster General's Department enlisted in the Australian Imperial Force during the First World War. This represented about one in every five of the total number of men employed by the Department. Many other employees volunteered, but were rejected for health or other reasons, whilst men in key positions could not be spared. This board was displayed at the Spirit of ANZAC Centenary Experience, Melbourne, in February 2016.This honour board was produced by the Postmaster-General's Department and passed through its successor entities until donation to the National Communications Museum in 2018. Its provenance is further supported by the supplementary photograph (VH256) held by the Museum which shows the board in production. The board provides a comprehensive list of the names of Postmaster-General staff across various departments, constituting an important resource for genealogical or social history researchers and a focal point for remembrance by fellow communications workers. The style of the board itself is rare, as it was an unusual practice for honour boards to be hand-lettered on paper.Handpainted paper on linen honour board, perspex glazed with a wooden frame."POSTMASTER GENERAL'S DEPARTMENT / VICTORIA" "ROLL OF HONOR / 1914 1918" "FOR / GOD / KING / AND / EMPIRE"|Headings that precede list of names: "CORRESPONDENCE / BRANCH" "CENTRAL EXCHE" "SUBURBAN AND COUNTRY / POST OFFICES" "TELEGRAPH / BRANCH" "ELECTRICAL ENGINEER'S BCH" "MAIL / BRANCH"pmg, postmaster general's department (pmg), world war 1, ww1, postal workers, honour boards, first world war

This van was used in Western Australia by linesmen and for mail pickup between 1972 and 1991. When transferred to the collection, it was the very last surviving vehicle of its type owned by the company. Despite its age, the van is in excellent condition having been reconditioned in 1987.This Volkswagen Transporter, 2nd generation, is commonly known as a kombi van; named as such after the German word Kombinationskraftwagen, meaning multi-purpose vehicle. This van is believed to have been used by linesmen and for mail collection from 1972 to 1991 in Western Australia, before being donated to the, then, Telstra Collection. Conflicting accounts from John Moynihan, PMG Engineer and author, suggest the van was used by cable jointers from the 1960s. Owing to this unclear use, the van’s historical significance is low though provenance from the Postmaster General’s Department to Telecom, then Telstra, is established. In 1987, the vehicle was extensively reconditioned and some original parts were presumably replaced. It is not, however, in working order or in good condition; the body carries several areas of rust, rubber seals have suffered plasticiser migration, a mirror is missing and there are marks from use. The hand lettered “P.M.G.” inscription is indicative of a Postmaster General fleet vehicle, as is the red colour of the vehicle paint. Though it is in poor condition, the van’s aesthetic style is of some significance. The van is representative of the type of Volkswagen vehicle used by the Postmaster General’s Department and other private businesses and government branches of the era. The vehicle may, therefore, carry social significance for those that lived in this era, where their communication service provider travelled in a Volkswagen van. Indeed, Volkswagen vans were used into the Telecom era, as evidenced by an image (6681153) in the National Archives of Australia collection. While many of these vehicles may exist today, there are few to no examples which survive in museum collections. In 1966, the Post Office (Postmaster General’s Department) had the largest fleet in Australia, totalling nearly 11,000 vehicles (The Canberra Times, 29 September 1966, p. 34). Though in the late 1960s Volkswagen vehicles accounted for just over 500 of these vehicles, with the remainder represented by Ford, General Motors, Chrysler, and others, the multi-purpose nature of the van is significant as a metaphor for the multi-directional services of the Postmaster General’s Department. Archival images show a variety of models and adaptations including roof racks, bull bar and door configurations. Its conflicted history of use may in fact attest to the vehicles variety of application in the duties of the Postmaster General‘s Department.Red Volkswagen Kombi van with stencilled gold lettering on doors. Scratches on bumpers indicate duck-egg blue undercoat. Single sliding door on left side of vehicle body with secondary opening at rear with horizontally divided doors. Mirror missing on right front. Western Australia registration sticker in front windscreen..1: "PMG" .2: "ROYAL" .3-.4 "PMG" .5-.6: "MAIL" .7,.8: "ER" .9: "C OF A / ZEH 622"transport, kombi van, linesman van, postal van, postmaster general’s department

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of the west side of a rendered two storey building. There are well established trees in the garden.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) (dr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, world war, 1914-1918

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of the south side of a rendered two-storey Victorian-style building. There are well established trees in the garden.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, world war, 1914-1918

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of the front door of 'Medlow'. The paintwork is tired and part of the wooden veranda is degraded.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) (dr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, world war, 1914-1918

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A close-up coloured photograph of the front door of 'Medlow'. medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, first world war

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of one of the rooms of 'Medlow' with an ornate mantle and archway. The paintwork is tired and there is damage to a corner section of the ceiling.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, world war, 1914-1918

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph taken up the driveway of 'Medlow'. It is covered with what appears to be pine needles and some weeds up the centre. There are large trees overhanging the drive and the garden appears to be somewhat overgrown. medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) (dr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, world war, 1914-1918

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of a timber building in the grounds of 'Medlow'. It has ornate barge boards and fretwork. The glass in the window is broken.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, first world war

Articles in the annual report include: retirement of Graham Lawrence and appointment of Jon Isaacs, death of Dr Sandy Robertson, pilot Traineeship Access Course for school leavers was developed, library involved in organising IFLA Specialist section meeting, introduction of face to face proofreading for talking books, Dr Max Lang donated his personal collection of optometry books, Maths Braille Code revised with input from Betty Smith and RBS staffers, increase of braille produced through microbraille program, Paul Cullen Centre opened on October 28, 1987 with two levels of care via Burgess Hostel and Roselands Nursing Home, closure of Lighthouse Hostel in Burwood and small cottage style hostels in Enfield and Strathfield, introduction of new lines in manufacturing (skirthanger, Miyata bicycle), Variety Club of Australia continue their support for a national children book collection, 3M Australia sponsored upgrade of studios and Talking Book of the Year award, Jillian Hallam won Sports Girl - for all Women in Sport award and Inge King's 'Awakening' won the Bicentennial RBS Sculpture award.1 volume of text and imagesroyal blind society of new south wales, corporation records

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

"A court was established in Melton by 1864, when the first recorded case was heard before Mr BA Porter JP, with Mr A Carroll as the Clerk of Courts. John James was convicted of being drunk, for which he was fined five shillings or 24 hours imprisonment. The court was held in the ‘long room’ of the old Melton Hotel, before moving to rented accommodation at the Raglan Hotel, and finally to the Roads Board office. Tenders for construction of the present building were called for by the Public Works Department on 13th February 1892. The architect Samuel Edward Brindley was born in Birmingham, England, in 1842. He was articled to the local architect, J.R. Botham, FRIBA, before emigrating to Victoria where he was employed as an architect in the Education Department from 18 August 1873. With the amalgamation of the architectural branch of the Education Department with the Public Works Department in 1884, Bindley was placed in charge of Victorian government building design for the North-Western District. In 1975, the Melton and District Historical Society became concerned at hearsay that the court house was to be demolished to make way for carparking space. Melton had been declared a ‘satellite city’ and was developing rapidly. A new shopping centre had recently been built at a setback of 60 feet (c.18 metre) from 323-329 High Street, and the court house, together with the adjacent weatherboard police station, had been left standing alone. A new police station was planned, and the weatherboard police station was subsequently demolished. In its nomination of the building for National Trust classification the Society argued that the Court House was ‘the best of two early buildings left in the main street’ (the other being a bluestone hotel) and that its loss would be ‘tragic’. However the nomination was unsuccessful, the National Trust at the time judging that it was of no particular ‘distinction’ or ‘antiquity’. The building continued to be used as a court house at least until 1991 when the Department of Housing and Construction (formerly the PWD) conducted a heritage study of court houses. By this time Federation-era architecture had achieved acceptance within the heritage movement. The building was recognised as being ‘the only surviving example in brick of the Federation Queen Anne style which was used for court houses only twice.’ Twenty years later when it was proposed to modify the eastern façade of the building to accommodate a café, the M&DHS was again concerned. This time the National Trust objected that the proposed extension would be an over-development of the site, and questioned the changes to the interior court room furnishings and fittings. The site never appears to have been nominated to the Victorian Heritage Register. It has since been converted into the Shire of Melton Tourist Information Centre". Opening of the Visitor Centre in Meltoncouncil, local architecture

The power board, which was the main power board for the lightstation between 1975 and 2007, retains a number of ceramic fuse parts and a wooden reel with fuse wire. The grey metal door has a plastic switch and a small metal plate is inscribed with ‘Custom styles by Thomson and Mackenzie’. Power board with ceramic fuse parts. Also wooden reel with fuse wire. ‘Custom styles by Thomson and Mackenzie’.

"Today the Chalet lounges and hallways are stocked with a number of disparate furnishings of unknown provenance - table and chair settings... many ranging in styles from Edwardian and Art Deco periods. While they may appear to be original to the rooms, the items are not evident in any of the historic photographs surveyed in the course of this report, so their historical association with the Chalet does not appear to be strong and enduring. Some, including the Art Deco dining table and chairs in the Music Room ( MBC0038.2) ... appear to be domestic furnishings rather than those of a 'resort house'. Two blonde wood chairs with brown leather seats. Carved floral design at back, top of chairs.

"Today the Chalet lounges and hallways are stocked with a number of disparate furnishings of unknown provenance - table and chair settings... many ranging in styles from Edwardian and Art Deco periods. While they may appear to be original to the rooms, the items are not evident in any of the historic photographs surveyed in the course of this report, so their historical association with the Chalet does not appear to be strong and enduring. Some... appear to be domestic furnishings rather than those of a 'resort house'.Six lounge / club chairs, covered in brown vinyl. They are solid and bulky and have square, short block-like feet of dark wood.

"The Chalet has 8 cutlery cabinets, all in the same undecorated Edwardian style, with tapered legs and slightly flared feet. They were identified in the 1992 inventory and listed on the Third schedule ... The cutlery cabinets and serving table probably date from the earliest years of the 1925-26 Dining Room ... Although the items lack a recorded provenance, their stylistic unity implies that they are part of a specific set of Chalet furnishings. Such items derive their meaning from their relationship with other furnishings and objects in the setting where they were originally used, with each complimenting the other." (Pg 77. Historica, Cultural heritage projects - Mt Buffalo Chalet Collection - Significance Assessment, Prepared for Parks Victoria, 2011)Listed in Draft Inventory of Significant Collection Items. (Pg 162. Historica)8 x small cabinets with 2 cutlery drawers each and wire to hang towels or curtains on underneath the drawers. Lower open shelf under drawers to store crockery. Some cabinets have laminex on top. (later addition)