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Bendigo Historical Society Inc.
Journal - Picturesque Atlas of Australasia
The Picturesque Atlas of Australasia was released in 42 supplements between 1886 and 1889 and attracted over 50,000 subscribers. Produced by the Picturesque Atlas Publishing Company in Wynyard Square, Sydney. The company was established in 1885. Edited by Andrew Garran. For detailed information search the website of the National Library of Australia. Thirty-three parts. Volume 9 to Volume 42. Volumes 1 - 8 and 28 are missing. Light tan coloured covers have a printed central rectangular double border. The title and publication information and illustrations are printed inside the border. The illustrations included are Captain Cook, a sailing ship and a sprig of wattle. The pages include many black and white illustrations. Volume 16 Separate map of Fiji. This Volume covers Bendigo as one of Victoria's country towns Volume 27 Includes separate Railway, Postal and telegraph map of Queensland. Volume 42 This last Volume contains a Miscellaneous section at the back with an Editorial Postscript and two maps - Australia and The Solar System.australasia, flora and fauna, subscription, history, exploration -
Bendigo Historical Society Inc.
Booklet - Constitution - Penguin Club of Australia
Speaking Made Easy is a registered name of The Penguin Club of Australia Inc which was founded in Sydney in 1937 by women for women. The late M. Jean Ellis O.B.E. was the co-founder of the Penguin Club and developed the organisation in each State and Territory of Australia, and in Port Moresby and Mount Hagen in Papua New Guinea. In an era when women were not so active in public life, one woman’s courage and foresight has inspired members during the decades to continue to support women to develop their speaking skills and become articulate, confident women in all aspects of their lives. Well-known Penguin Club members have included the late Margaret Whitlam, wife of the late former Prime Minister Gough Whitlam; Mary Tenison Woods, first female lawyer and public notary in SA; and Gertrude Johnson, Australian coloratura soprano and founder of the National Theatre in Melbourne.Grey cover booklet. The booklet has twenty pages and is titled the constitution of the Penguin Club of Australia. Incorporating amendments up to September 30th, 1949. published by Oxford Press, 2-4 Bedford St. Sydney. Aileen and John Ellison Collection.penguin club, consitution -
Bendigo Historical Society Inc.
Booklet - 'Australian Gold Fields' an Australian Historical Monograph Series Volume VII, January 31 1956
BHS Collection52-page soft cover lime coloured booklet. Australian Gold Fields their Discovery, Progress and Prospects, Edited by George Mackaness and printed January 31, 1956 by D.S.Ford , Printers, Sydney. Illustration by R.S.Anderson of the Mount Alexander Gold Diggings. Includes a section 'Advice to Emigrants'. Australian Historical Monographs Volume VIIgold, australia -
Bendigo Historical Society Inc.
Photograph - Sepia family photograph
Frederick de Kock first advertised as a teacher of French situated in Mr N Caire's photographic Studio, View Place. In 1882 he began teaching hand painting on ceramics. In 1883 he advertised as a photographer with his own studio on the corner of Mitchell and King Street, which was later named the Bendigo Portrait rooms. In December 1887 Mrs De Kock sold all her goods prior to a move to Sydney. In 1888 Frederick advertised as a representative of the Enlargement Company who was visiting Bendigo to take orders. This information suggests that this photograph was taken between 1883 and 1887.Sepia family photograph of three girls and one boy, date and family name unknown. Siblings dressed for the photograph, youngest child the son carries a walking stick. Photograph by F. de Kock & Co., photographic artists located at corner of Mitchell and King Streets.siblings, family group -
Bendigo Historical Society Inc.
Booklet - The Australian Gold Diggings - Australian Historical Monographs Volume VIII
BHS Collection56-page soft lime green colour cover booklet. Murray's guide to the Australian Gold Diggings. Where they are and how to get to them. Edited by George MacKaness. With letters from Settlers and Diggers telling how to work the diggings. Australian Historical Monographs Vol. VIII Printed by D.S.Ford, Sydney January 31, 1956. Reprint edition for Review Publications, Dubbo, NSW in 1976 Includes a Ballad from the Diggings Eragold, australia, diggings -
Bendigo Historical Society Inc.
Booklet - Gold in Australia - Australian Historical Monographs - Volume IX
BHS Collection53-page soft lime green cover booklet. A short account of the late discoveries of gold in Australia with notes of a visit to the gold district by Captain John Elphinstone Erskine. Edited by George MacKaness. Australian Historical Monographs Volume IX. Includes a map and 2 illustrations. Printed by D.S.Ford, Sydney Nov 30,1957. Reprint edition by Review Publications, Dubbo, NSW, 1976 gold, australia -
Bendigo Historical Society Inc.
Memorabilia - Victorian Gold Jubilee Glass
The Victorian Gold Jubilee Exhibition, held at Bendigo from 13 November 1901 to 14 May 1902. The courts were numbered from one, or had titles like “Machinery”, “Agricultural”, “Naval & Military Court” and “Art”. The female visitors to the Exhibition were able to view exhibits deemed suitable for the fairer sex and located within their own “Women’s Court”. There were exhibits such as “Parasols & Umbrellas”, cotton and haberdashery from Manchester and Staffordshire, “Corsets & Embroideries” from Paris. The most valuable exhibits were mining machinery such as Taylor Horsfield’s £850 “Air Compressor & Rock Borer”. “Bohemian Glassware” brought down from Sydney was valued at £600. The profits from this Exhibition were used to fund the sculpture known as the Gold Monument, which still gazes along Pall Mall (from the McCrae Street end). The Exhibition’s Cash Book shows payments, which totalled £1160, were made to then up and coming sculptor C.D.Richardson. Recently a City of Greater Bendigo staff member used both these volumes to write a detailed report about this monument, for Heritage Victoria.Etched Drinking Glass to commemorate Victorian Gold Jubilee Exhibition Bendigo 1901-2 Decorated with a scene of Bendigo and fern fronds.Victorian Gold Jubilee Exhibition Bendigo 1901-2 Jack Gordonvictorian gold jubilee exhibition bendigo, 1901-2, jack gordon, bendigo -
Bendigo Historical Society Inc.
Memorabilia - Bendigo Exhibition Glass
The Victorian Gold Jubilee Exhibition, held at Bendigo from 13 November 1901 to 14 May 1902. The courts were numbered from one, or had titles like “Machinery”, “Agricultural”, “Naval & Military Court” and “Art”. The female visitors to the Exhibition were able to view exhibits deemed suitable for the fairer sex and located within their own “Women’s Court”. There were exhibits such as “Parasols & Umbrellas”, cotton and haberdashery from Manchester and Staffordshire, “Corsets & Embroideries” from Paris. The most valuable exhibits were mining machinery such as Taylor Horsfield’s £850 “Air Compressor & Rock Borer”. “Bohemian Glassware” brought down from Sydney was valued at £600. The profits from this Exhibition were used to fund the sculpture known as the Gold Monument, which still gazes along Pall Mall (from the McCrae Street end). The Exhibition’s Cash Book shows payments, which totalled £1160, were made to then up and coming sculptor C.D.Richardson. Recently a City of Greater Bendigo staff member used both these volumes to write a detailed report about this monument, for Heritage Victoria.Etched drinking glass. Bendigo Exhibition 1902 - Mother - Etched on front - Fern frond etched on back.Mother 1902, etched glass, bendigo exhibition 1902 -
Bendigo Historical Society Inc.
Document - James Tyson
James Tyson was born in Sydney in 1823. Along with his brother the operated a wholesale and retail butchery in 1852, slaughtering cattle from their property near Balranald. He had worked his way up from farm labouring to droving cattle and initially had a property at the junction of the Lachlan and Murrumbidgee Rivers in 1846. With the discovery of gold he began droving cattle to Bendigo in 1851. He extended his holdings throughout NSW, Gippsland and then into Queensland where he died in 1898. Along the way he had become a millionaire.Nineteen pages of research on James Tyson and family.james tyson, tyson family history -
Bendigo Historical Society Inc.
Photograph - THE BROOK AND ANDERSON FORTUNA COLLECTION: SYDNEY AND AGNES
Black and white photograph of Sydney Ernest Anderson and Agnes Mary (Peggy) Anderson nee Priest. They are sitting on the outside staircases to a building.military, world war 2 -
Bendigo Historical Society Inc.
Photograph - THE BROOK AND ANDERSON FORTUNA COLLECTION: SYDNEY ANDERSON
Small black and white photograph of three men pushing a truck that looks is booged down. On the back Sydney's first driving and school maintenance bivouac - 1943(?)military, world war 2 -
Bendigo Historical Society Inc.
Photograph - THE BROOK AND ANDERSON FORTUNA COLLECTION: SYDNEY ANDERSON AND TWO OTHER MEN
Black and white photograph of three man in the bush. On the back in pencil the names of Sydney Anderson, George Angwin and Terry McCabe.military, world war 2 -
Bendigo Historical Society Inc.
Photograph - THE BROOK AND ANDERSON FORTUNA COLLECTION: PHOTO OF SYDNEY ANDERSON
Black and white photograph of Sydney Ernest Anderson and another unknown man.military, world war 2 -
Bendigo Historical Society Inc.
Photograph - THE BROOK AND ANDERSON FORTUNA COLLECTION: SYDNEY ANDERSON
Black and white photograph of a man standing near a car. On the back: my second staff car. Bendigo, 1944. Syd by Bendigo, 1940 model Ford. S.E. Anderson. -
Bendigo Historical Society Inc.
Document - THE BROOK AND ANDERSON FORTUNA COLLECTION: DRIVING LICENCE
Army driving licence No. 71896 issued to Anderson Sydney Ernest. Date: 10/06/1943. Vehicle type: trucks and testing officer coursemilitary, world war 2 -
Bendigo Historical Society Inc.
Document - THE BROOK AND ANDERSON FORTUNA COLLECTION: ANDERSON DRIVING LICENCE
Army driving licence issued to Anderson Sydney Ernest. Licence No. 34276 dated 22/07/1941, for class I and class II vehicles.military, world war 2 -
Ballarat Tramway Museum
Photograph - Digital image of Geelong tram No. 2 at the Wharf terminus, c1920
The photograph shows Geelong No. 2, built by Duncan and Fraser of Adelaide in 1911 in its as-built configuration, c1920 at the Wharf terminus, known as the Moorabool Street Pier. The tram line was opened in 1912 and closed in 1940 when the track in Corio St was extended to the Beach terminus. There are a number of horse-drawn vehicles in the view with goods being loaded or unloaded on the ship moored on the right. The tramway was operated by the Melbourne Electric Supply Co. (MESCo). The photograph from the collection of Ken Magor was published in the Sydney Tramway Museum's magazine Trolley Wire in April 1981. The photo caption advises - "The steamship to the right is the Edina, a veteran Port Phillip steamer which was launched in 1854 and was not broken up until 1957." This tram is part of the collection at the Ballarat Tramway Museum.Yields information about Geelong No.2 and the Wharf terminus.Digital image of Geelong tram No. 2 at the Wharf terminus c1920. geelong, wharf, mesco, moorabool st pier, edina, tram 2 -
Ballarat Tramway Museum
Newspaper - Front page - The Bulletin, Sackville Street Dublin, 31/5/1944
Wal Jack collected tramway and railway items for his collection. This item, the front page of the Sydney based weekly magazine The Bulletin, features an image of double deck horse trams in Dublin Ireland with an explanatory caption, though there is no mention of the trams.Demonstrates trams and a city that would have interested Wal Jack.Newsprint - front page of The Bulletin, 31/5/1944, featuring a photo and a long caption of Sackville Street Dublin with horse drawn double deck trams.letter, wal jack, horse trams, double deck, dublin, the bulletin -
Ballarat Tramway Museum
Magazine, Shennan Publishing & Publicity, "Special 12th Anniversary Issue" - Truck & Bus Transportation - July 1948, 1948
Yields information about Australian transport history, transport at the time of publication and the development of buses and the Ansett organisation.Large format 208 page , July 1948 issue of Truck and Bus Transportation with colour cover, fold out and advertisements, colour printing, articles on buses, trucks, cable trams, Australian Transport, personnel in industry, Ansett, executives - special 12 the anniversary issue. See photocopy of title and contents pages with item notes. Notes on Truck & Bus Transportation - Special Anniversary Issue - July 1948, with particular relevance to BTM Archives Advertisements: White Bus Co - similarity to the US PCC Tram - inside front cover Ansett's and Ansair - p131 AC buses - p162 Articles: Has Australia's Railways Reach the Doldrums? - p38 Modem Street Transit Authorities Announce Development Policy - p42 (includes photos of Sydney, Adelaide Glenelg H class, Bourke St, trams etc, being replaced by buses) These were the Events that made our Headlines (war years - photos included - p61 Riding the Rattlers behind Horses, Ropes and Billies - cable trams, horse and steam trams p66. - demise of Melbourne cable cars. Tracing the development of the Motor Bus in Aust. - p73. Australian Transport Administrations - whose , photos, responsibilities, liquid fuel control (petrol rationing), Australian Road Transport Associations, executives etc. - pl16 onwards Ansett organisation - p 1 72 onwards trams, tramways, trucks, buses, cable trams, road transport -
Ballarat Tramway Museum
Photograph - Illustration/s, Sydney tram 751
Cutting from a magazine, illustration of Old Melbourne City Court on corner of Russell and LaTrobe Streets Melb. Has cable tram passing. Caption says early 1888, soon after cable tram line opened.trams, tramways, cable trams, city court, russell st. -
Moorabbin Air Museum
Booklet - Flight charts, Visual Terminal Chart
Visual terminal charte Adelaide-Melb ; Mackay-Rockhampton; Canberra - Tamworth ; Brisbane- Coolangatta; Mount Isa- SydneySeries of terminal charts in plastic holdernon-fictionVisual terminal charte Adelaide-Melb ; Mackay-Rockhampton; Canberra - Tamworth ; Brisbane- Coolangatta; Mount Isa- Sydney -
Moorabbin Air Museum
Model (Item) - Fairey Firefly HMAS Sydney scale 1:72
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Ararat Gallery TAMA
Print, Nanette Bourke, The Growth of Tourism, 1988
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Opening up the Land, 1995
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Nanette Bourke, Return of the Grasstrees, 2007
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, No, I don't want to live to 100, Thank you, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Watch Over All Living Things, 1996
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Starleaf Grevillea, 2008
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Blue Devils, 1992
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment. -
Ararat Gallery TAMA
Print, Nanette Bourke, Casuarina Grove, 2003
Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.