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Young Christian Workers (YCW Australia) Archive and Research Centre
YCW Newsletter April 1971, YCW Newsletter, April 1971
Throughout its history, the YCW movement produced numerous publications for members and for the wider community. Some of these were regular papers or newsletters with high production values. Others were short lived efforts, produced 'in house' on low budgets. Reading across the collections, these public expressions of YCW communication provide insight into the movement's methods, the concerns of young women and men of the period, and how these shifted over time and across location.This four page document reveals the key concerns of the YCW movement in Melbourne in 1971; internal migration from regional Australia to the cities and road safety. It features photographs taken by chaplain Jim Nippard. Black and white printed newsletter with photos over four pages. -
Williamstown Botanic Gardens- Hobsons Bay City Council
Postcard – Williamstown Botanic Gardens, c1900-1920
The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This card is a rare image of the original aviary built in the Gardens in 1892. The card also demonstrates how postcards were used as a method of contact in contrast to the contemporary use as souvenirs. The writer of the card, Polly, is anxious to receive a return postcard from Lila, writing that a reply should be sent that night. A black and white scene of a curving path with a square looking building at the centre. The 1894 MMBW plan shows that the building was triangular. The building is solid at ground level with the appearance of long vertical columns. The roof is light coloured and hip shaped with a finial at the apex. There is a garden set in the lawn on the left side of the image, shrubs and a palm at the left front corner of the building and tall trees in the background. The building is an aviary, which was built in north east section of the Gardens during 1892. The date of its removal is unknown. Front: ‘GARDENS, WILLIAMSTOWN’. Reverse: Centre top: ‘Post Card’; Vertical on left side: ‘P. & W. Series’; Right side ‘Address Only’. The card is addressed to Lila of ‘Ferguson St, N Williamstown’ from Polly. In pencil ‘1908 or later’ (believed to be inserted by the vendor of the card).postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, aviary, 1908 -
Williamstown Botanic Gardens- Hobsons Bay City Council
Postcard – Williamstown Botanic Gardens, M Schulz, Prague, c1900-1920
The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The logo in the middle of the words ‘POST CARD’ indicates the card was printed by M. Schulz in Prague. Schulz was a long-established company from Prague and printed postcards for customers from worldwide. Schulz printed in photo-chromolithography. The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The card also demonstrates how postcards were used as a method of contact in contrast to the contemporary use as souvenirs. A colour image of a house (the Curators lodge) behind a fence with two children sitting on it. There are two large Cordylines, one in the forefront of the image standing in lawn and surrounded by pink flowers, and one closer to the house. The house is brown timber with two brick chimneys and has a green corrugated iron roof with gables over the windows at the front and side.Front: ‘The Lodge, / Williamstown Gardens’. Reverse: Centre top ‘POST CARD’ with a logo [MS] in the middle of the words; left side vertical ‘O. Rippon Series’; left side ‘This space may be used for communication.’; right side ‘For Address only.’; left side bottom ‘Printed in Germany’. There is a one penny red Tasmanian stamp on the top right hand corner. The card is addressed to ‘Miss E G Holford / 60 Upton St, / Launceston, / Tasmania.’ Top left corner in pencil ‘$10’ (believed to be inserted by the vendor.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, cordyline -
Beechworth Honey Archive
Publication, Making mead (honey wine): history, recipes, methods and equipment. (Morse, Roger A.). np, 1980
... -country 127 pages, illustrated. Making mead (honey wine): history ...127 pages, illustrated. -
Federation University Art Collection
Ceramic - Artwork- Ceramic, Blue Goblet by John O'Loughlin
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) in 2007 John completer a Masters at the University of Ballarat. 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.Botanical inspired wheel thrown goblet with decorative incised leaves on stem and flower head shaped cup. Glazed 'JOL' on bottom.art, artwork, goblet, botanical, ceramic, john o'loughlan, alumni -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Set of Four Goblets by John O'Loughlin
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Four wheel thrown goblets, two with decorative stems. art, artwork, john o'loughlin, ceramics, goblets -
Federation University Art Collection
Ceramic - Artwork - Ceramics, 'Reliquary No. 20' by John O'Loughlin, 2007
John O'LOUGHLIN Born Snowtown, South Australia In 1980 John O'Loughlin's life changed when he started wheel throwing ceramic vessels. During this time he discarded the superfluous and unnecessary clutter collected on the journey of life, yet retaining the essence of what mattered to him. John O’Loughlin's later artworks, such as 'Reliquary No. 20' engages with the way in which organised religion, specifically the Catholic Church, deals with the translation of the spiritual into the material. Informed by his extensive travels and studies, O’Loughlin’s ceramics reference the reliquaries and church artefacts that connect the life of this world with that of faith in another world. Completing undergeduate and post graduate works at Federation University John O'Loughlin's honours thesis was entitled "Ways and Means of Meaning, The Use of Symbol and Surface as Expressive Media in Ceramic Sculpture". The University provided a serious ceramic studio equipped with all the research tools for advanced ceramic exploration. Access to raw materials and a variety of kilns combined with excellent lecturers, mentors and technicians inspired, motivated and challenged him to push his accumulating knowledge to higher levels. O'Loughlin's working method in the studio is one of quiet, determined interaction with clay, idea and content. Experimentation with a variety of temperatures, firing methods and atmospheric conditions has produced a broad tonal and textural palette. He has worked with various clay bodies overlaid with coloured oxides, slips and engobes as the foundation for many of his works. O'Loughlin ufilised raised surfaces from old cemetery tombstones using the impressed forms and textures in his constructions. This research led him to the use of dry engobes to create a sense of antiquity, with crusty and distressed surfaces that resemble objects neglected in the oceans. These objects seem covered with the accretions and accumulations of history when re-discovered and brought to the surface as miraculous objects of mystery and magic. (https://www.thefreelibrary.com/John+O%27Loughlin%3A+a+man+re-invented.-a0216897107, accessed 12 September 2020) 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.Lidded ceramic form.art, artwork, john o'loughlan, ceramics, available, available ceramics -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Methods of Transporting Plants:, From Bottles to Wardian Cases, Unknown
Until the Wardian Case was invented, other methods of transporting plants had been rarely successful.The Wardian case was used to transport plants to be grown in the Botanical Gardens and other gardens in Ballarat.1 page with 2 sections. Top of the page is blurred and cutoff. Left bottom of page, 2 sketches of methods of transporting plants and right side, bottom half of the page, a sketch of the wardian case.Nonejohn garner, doctor john garner, ballarat botanical gardens, friends of ballarat botanical gardens, the wardian case, joseph paxton, doctor nathaniel ward, nineteenth century, john garner collection, gardens, ballarat -
Melton City Libraries
Newspaper, Stone Walls protected, 2015
Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Talking notes for FBBG, Statues In and Around the BBG
Origin of the Stoddart statues and the unveiling ceremony in 1884,p.1. Brief notes on each statue and cleaning method used,p.2. Other features of the Gardens and biographies of notable contributors.Ballarat Art Gallery founded at the same time (1884) and special area for statues was omitted as a result of Stoddart's gift.12 white A4 pages printed on one side, photocopy of typed notes. Copy of pp.1&2. Author, J.A. Chisolm and top left hand corner of page 1, 354/5/1, JAC:djw 1983john garner collection, garner, dr, talking notes, friends of the ballarat botanical gardens, fbbg, ballarat botanical gardens, ballarat, gardens -
Friends of Ballarat Botanical Gardens History Group
Work on paper - Sculptor, Responsible for the Reconstruction and Renovation of BBG Statues, INTERVIEW WITH MS JUDE SCHAHINGER, 5 December, 2006
FBBG Oral History Project. Important contributors to the Ballarat Botanic Gardens. Ms Jude Schahinger was responsible for the reconstruction and renovation statues within the Gardens.Statues are a significant part of the BBG heritage and Ms Jude Schahinger was important in preserving that heritage.6 pages of verbatim interview edited by John Garner, in bold, font 14. Page 7 Half of the page gives the history of the damage and repair of the Stoddart Statues.At the bottom of each page, "20061205 Schahinger Jude-INTERVIEW, fbbg oral history project, reconstruction and renovation of bbg statues. sculptor. restorer, vandalism of statues, interview by john garner. ms jude schahinger, condition of statues, methods of restoration of statues., doctor john garner, oral history, historical account of stoddart statues., john garner collection, garner, dr, schahinger, sculptor, restoration, ballarat, gardens, ballarat botanical gardens -
Wodonga & District Historical Society Inc
Album - Hume Reservoir Australia Album - Introduction - Part 1, Department of Public Works, N.S.W, 1927
This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.RIVER MURRAY WATERS SCHEME, HUME RESERVOIR THE LARGEST IN THE BRITISH EMPIRE. ' The history of the inception of the River Murray Waters Agreement under the terms of which the Hume Reservoir is being constructed, the purposes of the work, its correlation to the other works on the Murray and the methods of construction are all outlined in the attached article entitled “The River Murray Waters Scheme, the Nile of Australia”, by Mr H.H. Dare, M.E., M.Inst.C.E., Commissioner, Water Conservation and Irrigation, and the New South Wales Representative on the River Murray Commission. The article was published in 1925 and some alterations brought about by the efflux of time are necessary. As far as personnel is concerned, the death of Mr J.S. Dethridge, M.Inst.C.E., removed a very able engineer from the councils of the Commission. His place as Representative of Victoria has been taken by Mr R. Horsfield. It is also to be regretted that ill-health has caused the retirement of Mr E.M. de Burgh, M.Inst.C.E., the eminent Chief Engineer for New South Wales, who, with Mr Dethridge, was largely responsible for the Agreement cemented by the River Murray Waters Acts and, inter alia, for the design of the Hume Dam. The following summary of the progress of work on the Locks might be substituted for the latter part of Mr Dare’s paragraph. Up to the present time six locks and weirs have been completed, the highest in the series being at Torrumberry and the lowest at Blanchetown. Locks No.26 at Torrumberry and No.11 at Mildura were built by Victoria and are in use. A lock and weir (No.10) is in progress at Wentworth, and the necessary camp arrangements, purchase of plant, etc., have been undertaken in connection with lock and weir No.15 at Euston, both under the direction of New South Wales. Lock No.9, which forms part of the Lake Victoria Scheme, Lock No.5 at Renmark and Lock No.3 in South Australia hume reservoir australia, river murray waters scheme -
Wodonga & District Historical Society Inc
Book - The Mortlock Family History 1833-2003, R. Polkinghorne & R Mortlock
A detailed history of the Mortlock family, from their convict and then successful settler ancestor, Thomas John Mortlock, through succeeding generations of high-country settlers. Later branches of the family settled in the Castlemaine area, Wagga Wagga and Bethanga near Wodonga, Victoria. The history is profusely illustrated with maps, family photographs provided by Maud Cadman. There is some detail of the methods of settling the high country of the Monaro before the new Land Acts of 1861 and anecdotal reference to one family member running the Post Office at the Prisoner of War Camp at Cowra during World War IInon-fictionA detailed history of the Mortlock family, from their convict and then successful settler ancestor, Thomas John Mortlock, through succeeding generations of high-country settlers. Later branches of the family settled in the Castlemaine area, Wagga Wagga and Bethanga near Wodonga, Victoria. The history is profusely illustrated with maps, family photographs provided by Maud Cadman. There is some detail of the methods of settling the high country of the Monaro before the new Land Acts of 1861 and anecdotal reference to one family member running the Post Office at the Prisoner of War Camp at Cowra during World War IImortlock family, high country, bethanga, thomas mortlock, monaro -
Melbourne Tram Museum
Document - Radio Transcript, Mr Cameron, Wireless talk - Presented by The Chairman, Mr Cameron, early 1926
Radio Transcript - 11 Foolscap pages, undated, given a reference to the connection of the Commercial Road tram line following conversion of St Kilda Road cable tram lines - early 1926. Presented by The Chairman, Mr Cameron, giving a short history of trams in Melbourne, formation of the Board, lists other Board members, the General Scheme, Railway electrification, public transport in Melbourne, William St extension, replacement of the cable trams, methods of conversion, reference to the Tramway Trusts, Mr. Strickland, Mr. Murdoch, W. Strangward, tramcars, speed of trams, use of buses and finally fares. Has a reference to the forthcoming conversion of the Commercial Road and Malvern Road cable tramsHas green pencil in top left hand corner "Chair"trams, tramways, public transport, radio stations, cable trams, conversion, general scheme, personnel -
Melbourne Tram Museum
Ephemera - Set of 3 Receipts from the AT&MOEA, Australian Tramway & Motor Omnibus Employees Association (ATMOEA), 1981
Used as proof of payment from AT&MOEA of members union dues. Shows the method of collecting union dues or membership fees by the Union.History of a tram employee's transactions with a public transport union of whom they are/were a member. Said public transport union has been superceded by the RTBU since 1993.Three (3) blue receipts (numbers 1752-1754, consecutive) with the phone number and address of the Victoria Branch of the AT&MOEA. All are from 1981, with handwriting indicating a signed date of 7 October of that year. Receipts are originally intended for quarterly tickets, but receipts 1752 and 1753 have handwriting indicating their actual use: "Joining Fee" and "arrears" respectively. Said 2 receipts also have the quarterly ticket price crossed out with actual amounts of their corresponding intended transactions annotated (both are A$1). Receipt 1754 is for a quarterly ticket. All 3 tickets indicate the same payer (R. Budge) and collector (W. Lachlan).public transport, unions, atmoea, tramways -
Melbourne Tram Museum
Functional object - Bellcord Sample, Tramway Museum Society of Victoria (TMSV), c2000
flat leather strap used in cable tramcars for the conductor signal bells to the grip man. Has a brass rivet demonstrating the method of joining the leather pieces. Not original - see history.trams, tramways, bellcord, public transport, equipment, seats, cable trams, conductors bell -
Melbourne Tram Museum
Magazine, Traction Publications, "Transit Australia - May 1996", May. 1996
Magazine - 28 pages - "Transit Australia - May 1996", celebrating 50 years of publication with gold cover and some gold printing inside. Has an article on the history of Transit Australia, commencing with Tram Tracks in 1946, Electric Traction and then to Transit Australia. Lists the various editors, publishing methods and other key changes. Has features on the way we have changed (historical photographs), Sydney City Rail timetable review, Adelaide bus contracts, Gold Coast railway, Melbourne Grand Prix and news items from around Australia. Scanned pdf copy of cover and article on the Grand Prix added 28/9/17trams, tramways, tramways, 50th anniversary, transit australia, grand prix