Red and white covered booklet titled 'Naming Bendigo evolution of a city's identity 1836 - 1891. It has a sketch map of Bendigo and Golden Square in 1851. It has a number of photos of early paintings, postcards and objects. The Foreword is written by Cr Rod Campbell, Mayor of the City of Greater Bendigo and the Introduction is written by Karen Quinlan, Director. The chapters are titled: Naming Bendigo evolution of a city's identity 1836 - 1891; The Gibson brothers soon renamed the run a popular choice in the 19th century; and to direct that the said place shall be called and known as Sandhurst; endeavoured to ascertain from what source, and at what time, the name of Bendigo arose: "The diggers...at Bendigo are recherché as to names;" and the Exhibition Checklist.event, exhibition, naming bendigo, naming bendigo - evolution of a city's identity 1836-1891, post office gallery, bendigo art galery, studio round, bambra, sandra bruce, karen quinlan, ian hill, national library of australia, city of greater bendigo, elaine harrington, vic lane, reg and judy macdonald, dennis o'hoy, sandhurst trustees, phil wilkins, darren wright, eaglehawk, eppalock, epsom, flora hill, golden square, kangaroo flat, strathfieldsaye, mount alexander run (north, or no 2 - ravenswood run

Black & White studio portrait photo. Bearded & moustached male aged approx sixty years. Head & shoulders. Turned down shirt collar with bow - tie under jacket. Printed on front. Vita, 77 Swanston Street Melbourne. Reverse from the Vita Portrait Studio. Within round 2 cm stamp the name, S Calvert Artist Manager. 77 Swanston Street Melbourne.S Calvert 77 Swanston Street Melbourne.photograph, person, male

This frame contains two as yet unidentified soldiers from two of Australia’s earliest overseas conflicts. The WW1 soldier has the rank of Captain and the Boer War soldier has the three stripes of Sergeant. It is possible that he belongs to the Coronation Contingent of Edward V11 in 1902.These soldiers were selected form all over Australia with 42 coming from Victoria. The Australian War Memorial cites a number of approximately 16000 soldiers who fought in the Boer War from 1899-1902. Of that number 282 died in action or as a result of wounds while around 320 died as a result of disease and accidents. Six received the Victoria Cross as well as other awards for bravery. The First World War had more drastic consequences for Australia. From a population of less than 5 million, 416809 men enlisted of whom over 60,000 were killed with 156000 wounded gassed or taken prisoner. Australian fought from 1914-1918 from Egypt, Turkey, and the Western Front in Europe. These photographs are representative of many photos which are kept in remembrance of Australian soldiers who fought in wars particularly the two world wars. The Boer war photo is a rarer one.This bi- fold photo frame is rectangular in shape with a rounded section at each top. It is leather in composition and has the Rising Sun insignia in each arch which appears to be metal. There are glass covering two photographs one of a Boer War soldier and the other of WW1. It is hinged in the middle with a double layer of leather which is broken .The Boer war photograph has a coloured flag and medal ribbons. The two Rising Sun badges have Australian Commonwealth Military Forces. The frame itself has J C Vickery Regent St W stamped on the back in gold with a crown above it. The photograph of the WW1 soldier has Hana Studio Ltd 22**** which although unreadable has been matched with another photograph to read,” 22 Bedford St Strand London. The photograph of the Boer War soldier has no studio identity. warrnambool history, unknown soldiers of warrnambool, boer war soldier, world war 1 soldier

.1) Cpl Anderson. Possibly Thomas Anderson No 806 C Coy, KIA 7/9th June 1917. Sgt Rowling. Possibly Walter Liscombe Rowling No 981 C Coy, KIA 4.10.17. .2) The card is written by Edgar Stanbury MM to his mother, in it he states the two names of the soldiers in the photo, Percy Bull, Joe Carter. Details are Percy Robert Bull No 833 C Coy, Joseph Leslie Carter No 842 C Coy. .3) Sgt. Francis Ramsdale MM, No. 668, 37th Battalion. .4) Sam, no details at this point. Cards in the collection relating to Edgar Stanbury MM, refer Cat No 5032.3P for his details.Post card photos sepia and B &W colour, soldiers in uniform in studio background.. .1) On left soldier short with Cpl stripes, on right soldier with Sgt stripes. .2) On left soldier sitting with crop, on right soldier standing. .3) In round shape soldier with L/Cpl stripe.. 4) Soldier sitting astride a bench. All photos have hand writing on..1) “Cpl Anderson, Sgt Rowling”. .2) “Re ...... 18.7.17 In field 6 June 1917, Dear Mother” .3) “Now a Sergeant, Ramsdale in the 37th Battalion”. .4) “Sincerely yours, Sam 4.11.18”photographs, c coy 38th bn

The ship's steering gear was used for steering and navigation of a vessel - it was a very important part of the ship's equipment. This steering gear was part of the original vessel 'Reginald M', which became part of the exhibitions at Flagstaff Hill Maritime Village. The steering gear was manufactured by the Carron Company. ABOUT THE CARRON COMPANY The Carron Company established its ironworks on the banks of the River Carron in Stirlingshire, Scotland, in 1759, and became an incorporated company in 1773. One of the notable items produced by the company was the Carronade, a short-barrelled naval cannon, being produced until the 1850s. The company was the largest ironworks in Europe during the 19th century. It supplied ammunition and armaments, steamboat engines, pig iron, cast iron goods such as balustrades fire grates and bath tugs, pillar boxes and telephone boxes, and even cast iron rings for underground tunnels. In 1982 it became insolvent and was taken over by the Franke Corporation, using the brand Carron Phoenix. ABOUT THE 'REGINALD M' The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. On April 9th 1931Reginald M weathered a large storm in St Vincent Gulf, SA. The vessel suffered much damage; mast snapped and the crew laboured for four hours to free her by chopping off the past and rigging. The crew patched her up and slowly returned to Port Adelaide with only a portion of the insured cargo being damaged. Her crew members at the time were owner Mr John H Murch of Wells Street Largs Bay, Skipper Mr R Murch – John’s brother, Murray – son of Captain Murch and Seaman John Smith. Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph donated to Flagstaff Hill, dating about 1929 - 1942, shows two men on the Reginald M, holding between them their fishing catch of a large hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCOLN PRINT” and titled “hammer shark caught on Reginald Emm”. The donor’s family lived on the Your Peninsular and despatched their grain from a chute at Gleeson’s Landing to the awaiting transport vessel. Reg knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel, as one photograph in Flagstaff Hill’s collection shows “H.M.C. No. 3, Pt Adelaide” on the bow. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board.The steering gear is significant through its association with the Carron Company, the largest ironworks in Europe in the 19th century, and the manufacture of the short barrel, lightweight naval gun - the Carronade. The steering gear is significant for its association with the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.) Ship's steering gear that was part of the original vessel 'Reginald M', which was constructed in 1922. Inscription on both sides. Made by the Carron Company, UK."CARRON COMPANY"flagstaff hil, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, coastal trader, trading vessel, vessel reginald m, ketch, john murch ship builder, reg webb, carribie station, mt lyell copper company, queenstown navy league, andrew rennie, melbourne ferry company, r.f. dale, port adelaide vessel reginald m, macquarie training vessel, grenfell studio port lincoln, ship steering gear, metal steering gear, ship's gear, ship's navigation, carron company

This is a portrait of Mary Norman (later Mary Norman-Bail) photographed in a local studio in 1908. She was an educator and artist, living in Ararat and Warrnambool.This was donated to Langi Morgala Museum by the Estate of Jessica Norman-Bail. The image is of her mother, artist and educator Mary Norman-Bail. A studio portrait of a woman, seated and in formal clothing. She has rounded reading glasses and a long chain hanging from her neck. The cardboard backing is spotted and damaged by adhesive.Front "Yours Truly / Mary Norman" Rear "MP Norman when at / Echuca taken in January / 1908"education, teacher, art, artist, painter, warrnambool, ararat, norman-bail, 1908

This coloured photograph of the ketch Reginald M was taken when she was docked at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. HISTORY The Reginald M, a two-masted coastal ketch, was owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia to serve the coastal ports of South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Its purpose was to carry cargo cheaply and efficiently, and tradition has it that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The Reginald M had a very shallow draft and a flat bottom that enabled it to sit high and dry at low tide. The flat bottom was also to make the ship able to skim over reefs. Wagons were able to load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. In 1931 she weathered a large storm in St Vincents Gulf, SA. Her crew at the time were Owner Mr John H Murch, Wells St, Largs Bay, Skipper, John’s brother Mr R Murch, Murray, son of Mr R Murch and Seaman John Smith Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph dating about 1929 -1942 shows 2 men on the Reginald M, having just landed their fishing catch of a hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCLON PRINT” and titled “hammer shark caught on Reginall Emm”. Reg Webb knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel because a photograph in Flagstaff Hill’s collection shows the text “H.M.C. No. 3, Pt Adelaide” on the bow, the abbreviations standing for “His/Her Majesty’s Customs”. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Copper Company, based in Queenstown, Tasmania, to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit and renamed her T.S. Macquarie. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her, paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. In 1975 Reginald M was sold to Melbourne Ferry Company at auction. In 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000. She has been restored and is now one of the exhibits, tied up at the dock. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include - Photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board. - a lifebuoy, with Pt Adelaide on it. - a bullet found in pieces of timber when Reginald M was restored in 1979 (References: Flagstaff Hill Fact Sheet “Reginald M”, the book “The Reg Webb Story” compiled by the Warooka & District Museum. Reg Webb’s daughter Lily Ramsay (nee Webb) and her husband Howard, Lizzie Rennie (daughter of owner Andrew Rennie), brochure “Discover the Yorke Peninsula South Australia”, Ketch in Peril; Adelaide Chronicle 9 April 1931, K Gordon & Mary Filmer of Warooka; South Australian Maritime Museum) Thiis photograph is significant because of its connection to the history of the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Photograph of Reginald M at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. Painted on the side of the vessel "REGINALD M / H.M.C. No. 2 Pt ADEL" - flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, reginald m, coastal trading ketch, trading vessel, john murch ship builder, port adelaide vessel reginald m, andrew rennie, macquarie training vessel, mt lyell copper company, queenstown navy league, ch murch, reg webb, carribie station, melbourne ferry company, grenfell studio port lincoln, vessel reginald m

Black and white photograph. Printed onto cream paper showing six directors of New Moon Company. Photograph image has rounded corners and a dark border. This studio study is then within a double-line border. Sketch of New Moon leases shown on back as part of report. Inscriptions: names of directors shown as: Joseph Lanfranchi, WB Walker, Daniel Murdoch, John Green, Alexander Hay, Edward Brightperson, group, new moon company

Sepia photograph. Studio portrait on hardboard of Ava Jane Hall (granddaughter) of Wootton Lansell. Ava is wearing an 1860's dress. Inscriptions: on back- 'Ava Jane Hall, eldest child of Phoebe Jane Lansell and Thomas Hall. Granddaughter of Wootton Lansell who was brother of George and William' Wearing Grandma (wife of Wootton) Ellen Lansell's frock. Would have been made in the 1860's) worn by both at Bendigo Town Hall Balls (1860-1920 or near). Round stamp 'Royal Historical Society of Victoria, Bendigo Branch.Bartlett Bros., Bendigoperson, individual, ava jane hall

Black and white photograph on fawn board. Studio photograph on cardboard mount. White haired lady in black boned dress with wide lace collar and white cap. Black lace on cuff. Inscriptions: printed on mount at back - 'Bartlett Bros', 'Bendigo'. On back, hand written in pencil 'P676'., '1901'., 'Mrs Henry Jackson', 'Died 2/6/03'. Round stamp 'Royal Historical Society of Victoria, Bendigo Branch'.Bartlett Broscottage, miners

Sepia photo with rounded corners of a man in a long, narrow row boat. He is wearing long shorts and a T-shirt. There are trees and bushes along the edge of the water. The photo is mounted on cream cardboard and has indented borders.Laurel Studio Bendigoperson, individual, portrait, foster & wilson collection, photo

Photograph. Wedding photograph of Mrs James Mitchell nee Ella Nicholls (Bendigo). Brown cardboard surround. Photograph - black and white 18.5cmX13.5cms. A .5cm wide dark brown border surrounds the photograph, and the edge of the mount. Bride wears a beautiful silk and lace gown, a floral head-dress holds a floor - length veil, and she wears fingerless gloves and carries a large round bouquet.Photo, Eden Studios Melbourne P697. On back of photograph: hand written - About 1912. Mrs James Mitchell nee Ella Nicholls (Bendigo).photograph, person, wedding photo of mrs james mitchell, refer research notes included in clothing box 136

Robert Bayles was born in England in 1864. He commenced his ministry in 1890, was President of the Victoria and Tasmania Conference of the Methodist Church from 1927 - 1928 and died at Burwood in 1928.Black and white head and shoulders studio portrait of Rev. Robert Bayles mounted on grey card. Rev Bayles is facing and looking to his right. He is wearing round eye glasses and his clerical collar. The photograph has white hand writing on the front."REV. ROBERT BAYLES PRESIDENT 1927-8"rev robert bayles president of the methodist conference of victoria and tasmania, rev robert bayles methodist minister.

'Tiles from the Boomerang Studio' is a prototype of the work 'Year 2052', created while Mooney was an Artist in Resident at Laughing Waters in the Boomerang studio in 2002. Records of flora were collected in and around the Gordon Ford garden in Laughing Waters Road. The work 'Year 2052' is made up of '77' tiles and was acquired by Geelong (Regional) Art Gallery in 2003. Whilst working at the Boomerang studio, local based artist Mooney noticed that “a battle raged in the bush between non-indigenous plants and indigenous plants”. She also noticed how humans “invade” land, changing the surrounding environment and causing irreversible damage. This work is an interpretation of the fragility and value of Nillumbik’s indigenous flora and of its conflict with introduced species. The title of the work (Year 2052) and look of these ‘fossilised specimens’ asks viewers to cast themselves into the future and to look back at today. “These tiles have been found; an incomplete record of flora collected in and around the Gordon Ford garden in Laughing Waters Road. The tiles appear to have been made at the beginning of the millennium. The viewer is asked to contemplate which species are missing”. Mooney works with collected indigenous items to emphasis the beauty of their natural shapes, while at the same time introducing selected materials of contrast or sympathy. Her work creates a great sense of “stillness and peace, of simplicity and connection with the natural world as well at the vanishing Australian bush.”This work is made up of seven handbuilt earthenware oval/round clay 'tiles' - (eight pieces - with one tile intentionally broken), brown in colour and bisque and blackware fired, giving a matt black ash coating on each of the tiles' surface. Each tile has an imprint of a floral specimen indigenous to the Laughing Waters area in Eltham. Each tile has an imprint of the following specimens: tiles, earthenware, flora, indigenous, bisque, boomerang, ford, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

Made to measure by former owner of 'Just Ask Us', Jacaranda Court, Blackburn Road, Blackburn. Shop in Blackburn Road, Blackburn.Maroon dress - short sleeves 17cm nylon zip down back, lined in maroon polyester (synthetic) dress nylon (crepe). Cut of dress - straight A-line style. Kick pleat at back. Round neck line.Jean's Studio Australiacostume, female

non-fictionA description of the new Whitehorse Performing Arts Centre called The Round. Opening night 13/10/2023city of whitehorse, the round

Small round black and white photo of a girl Hannah Wiggton, mounted on a square of white cardboardAt bottom of mount: "Thalma" "Rutherglen. opp. Post Office." On back of mount: "Hannah Wighton (Mrs Williams)" in black ink. "R'glen" in red pencil. "Dennis Williams Mother" in black pencil. "Mother of Katie, Mary, Dennis & ?" in blue ink.hannah wighton, hannah williams, katie williams, mary williams, dennis williams

Studio photograph of Harry Booth. A young man wearing a dark, three piece suit, collar and tie. Included in the Dorey/Woolrich collection.Black and white photograph of young Harry Booth taken in a formal studio setting. Harry Booth was the son of Jack Booth, who owned Lots 37 and 38 in the Village Settlement and had access to creek water for successful berry crops. Harry was a local market agent and travelled to Victoria Market carrying produce from local settlers.Harry carried a variety of produce by horse and cart, apparently a twenty-four hour round trip, until the business was sold in the early 1920's. Harry Booth Eden Studios Post Cardharry booth

Black and white block mounted photograph of the ESCo Ballarat Football team, with about half in "ES" jumpers, some in tramway uniform and some in formal clothes. See also Reg. Items 2939, 2940 for other photos with Bill Gunn, identified in writing on rear. Note: Could not see name in Employees Register, but not all register searched. On rear has a green round label, with name of studio in white - "Own Photo Dana St. Ballarat" Block mounting, dark grey colour has rounded corners, has thick outer border of stippled cardboard.On rear in ink "Centre front, William 'Bill' Gunn / taken before 1910 / about 22 when he died." and "Front left Bob Haines"trams, tramways, esco, tram crews, football, ballarat

This is one of a series of photos donated by Arthur Lyons. From 1907 a cab service operated from near the railway gates in Union Road. It was established and maintained by Mr C Fraser until c1916. George Rea either took over then or set up in opposition. Fred Lyons initially worked for George until he set up his own business. In time he changed over to a motor vehicle and continued his service until 1960. Frederick Adolphus Lyons (1891-1980) was born in Surrey Hills, son of Thomas and Catherine Lyons. He married Elizabeth Ruby Hall in 1918. They lived just around the corner at 55 Sunbury Crescent. The Lyons’ home in Sunbury Crescent was called ‘Knopshambury’ - this was probably a misspelling of Knockshanbally in Co Kilkenny, the birth place of Fred’s father, Thomas Edmund Josias Lyons (1846-1915). Arthur Lyons was born in Surrey Hills on 12 Jun 1920. He became a motor mechanic / welder and lived at 55 Sunbury Crescent. The donation was made while he was in hospital. He died shortly afterwards (23 Sep 1990). Donation was finalised by a neighbour, Mrs Florence Ann Armitstead, wife of Glen Victor Armitstead. Glen was a local hairdresser. They moved to 11 Sunbury Crescent after their marriage in 1939. Arthur had no relatives to distribute the material to.A black and white studio portrait of a man wearing round eye glasses, a white shirt and dark coloured striped tie.George Lyonssunbury crescent, surrey hills, union street, taxi proprietor, fred lyons, frederick adolphus lyons

Another early Co-op building was referred to as the Humpy. It was used as a pottery studio. Originally a weatherboard building built by Chris Mueller in 1973-74, it eventually started to deteriorate and was clad in mud brick. Band White Photo

Victoria HOWLETT (b. 1945- ) Born London, United Kingdom Arrived Australia 1946 Victoria Howlett studied Ceramics at RMIT. She lectured at Prahran College for several years before travelling to Canada, The United States of America, Mexico, Africa and England. She began working as a potter full time in 1977, establishing a studio in Melbourne. In 1985 Victoria Howlett won the Stuart Devlin Award, Melbourne. She is a practicing artist in Apollo Bay, Victoria. The ceramic work of Victoria Howlett draws on the Oribe tradition of painted surface designs. During the 1980s, she moved from rounded vessels and lidded jars to the platter as the form to be decorated, using a well-charged brush and slips coloured with oxide. Wheel thrown stoneware jar with dipped and painted glaze decoration. The ceramic works of Victoria Howlett are impressed 'TOR' or painted or incised 'Victoria Howlett'. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there. Victoria Howlett was a visiting lecturer to the Gippsland Institute of Advanced Education Gift of the artistvictoria howlett, ceramics, gippsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery