The assemblage was presented to the students of Ballarat College of Advanced Education (BCAE) by a NASA astronaut. The Australian Flag and NASA Astronauts crew patch were flown aboard the Orbiter Atlantis, STS-36, 28 February to 4 March 1990. Astronaut Pierre Thout's first flight was as a mission specialist on the crew of STS-36 which launched from the Kennedy Space Center, Florida, on February 28, 1990, aboard the Space Shuttle Atlantis. This mission carried Department of Defense payloads and a number of secondary payloads. Following 72 orbits of the Earth in 106 hours, the STS-36 mission concluded with a lakebed landing at Edwards Air Force Base, California, on March 4, 1990, after travelling 1.87 million miles. bcae, nasa, space, pierre thuot, creighton, caspar, mullane, hilmers

MEDIUM: Mixed media on wood. DESCRIPTION: A three dimensional work, assemblage art. The base a dark stained natural wood, the second layer is painted in pastels with mixed media. Three painted and mixed media pieces are attached symmetrically positioned alongside one another. Ornate and decorative the centre piece spells home sweet home, also the title of the work.NILhome, art, bach, assemblage, sweet

Anthea WILLIAMS The sculptural practice of Gippsland-based artist Anthea Williams includes welded metals, moulds and assemblages. She has lectured Visual Arts at Federation University, Churchill and has many years experience as a technician at Latrobe Regional Gallery. Large steel sculptureanthea williams, gippsland art collection, sculpture

On 23 July 1922, Brighton City Council adopted the recommendation from a sub-committee that the site for a war memorial be at Green Point, Brighton Beach. Brighton Council invited designs, limited to returned soldier architects and 18 designs were received. The first prize of £30 was awarded to the architecture firm Irwin and Stevenson and the designs were exhibited at the Brighton Town Hall in 1925. The bronze casting, using lost wax technique, was executed by sculptor Mr. Paul Montford, to the design of the architect and the central assemblage was believed to be the largest bronze casting in relief carried out in Australia at the time. The Brighton War Memorial was unveiled by His Excellency the Governor, the Right Honourable Arthur Herbert Tennyson Baron Somers, K.C.M.G., D.S.O., M.C., on Sunday 24th April 1927 in the presence of 4,000 people. The memorial was originally constructed to commemorate those from the City of Brighton who served in World War One but has since been augmented to commemorate those from the municipality of Bayside who have made the ultimate sacrifice during official periods of hostility.War memorial consisting of a sandstone cenotaph, granite base and sandstone terrace situated at Green Point, Brighton. The cenotaph is a truncated obelisk with classical decoration in stone and bronze. The cenotaph bears the Rising Sun badge in bronze relief near its top with bronze lettering running down the cenotaph reading "ERECTED IN HONOUR OF THOSE WHO FOUGHT IN THE GREAT WAR 1914 – 1919". A bronze relief assemblage of crossed weapons, a wreath, the lamp of valour and the Latin phrase "DUCIT AMOR PATRIA" (love of country leads me) sit above the base which is carved with the word "SERVICE". The terrace walls have bronze relief medallions with images of the head of an airman on the left and an infantryman on the right. The back of the cenotaph bears a torch in bronze relief near its top. On the sandstone wall behind the cenotaph are three large bronze plaques that lists the names of those from the City of Bayside who have served in the various conflicts in which Australia has been involved. At the back of the sandstone wall is carved lettering reading "HISTORY GAVE THEM A COMMON FAME. POSTERITY A COMMON MONUMENT" with 1914 carved on the left and 1919 on the right.brighton war memorial, memorial, cenotaph, green point, war memorial, brighton, service, paul montford, irwin and stevenson, rising sun, wreath, weapons, lamp of valour, great war, world war one, honour roll, honour board, roll of honour, ducit amor patriae, brighton beach, city of brighton, leighton major francis irwin, roy kenneth stevenson

Carly Fischer’s painstakingly assembled paper sculptures mediate on the knife edge between reality and staged reality, reproduction and it’s re-absorption as the real. In the era of reality TV, viewers we are become increasingly aware of an ability to manufacture the real: even as we tidy our own lounge rooms before friends visit: which coffee table books shall we have on display? Fischer’s work commodifies everyday detritus. She cleanses it of its reality residue, polishes its rough edges, and re-presents it to us as desirable, miniature, flawless. As Fischer notes, ‘In the installation, paper/board model replicas of broken household objects assume their places carefully in a junk pile, presenting themselves as perfect but precarious possibilities.’ Carly Fischer was born in 1978 in Melbourne. She studied Painting at RMIT University before undertaking Honours in Sculpture in 2000. She has undertaken residencies in Berlin and LA, and currently lives and works in Melbourne.stonnington contemporary art collection, assemblage, sculpture, miniature, replica, carly fischer

Carly Fischer’s painstakingly assembled paper sculptures mediate on the knife edge between reality and staged reality, reproduction and it’s re-absorption as the real. In the era of reality TV, viewers we are become increasingly aware of an ability to manufacture the real: even as we tidy our own lounge rooms before friends visit: which coffee table books shall we have on display? Fischer’s work commodifies everyday detritus. She cleanses it of its reality residue, polishes its rough edges, and re-presents it to us as desirable, miniature, flawless. As Fischer notes, ‘In the installation, paper/board model replicas of broken household objects assume their places carefully in a junk pile, presenting themselves as perfect but precarious possibilities.’ Carly Fischer was born in 1978 in Melbourne. She studied Painting at RMIT University before undertaking Honours in Sculpture in 2000. She has undertaken residencies in Berlin and LA, and currently lives and works in Melbourne.stonnington contemporary art collection, sculpture, carly fischer, assemblage, miniature, replica

Carly Fischer’s painstakingly assembled paper sculptures mediate on the knife edge between reality and staged reality, reproduction and it’s re-absorption as the real. In the era of reality TV, viewers we are become increasingly aware of an ability to manufacture the real: even as we tidy our own lounge rooms before friends visit: which coffee table books shall we have on display? Fischer’s work commodifies everyday detritus. She cleanses it of its reality residue, polishes its rough edges, and re-presents it to us as desirable, miniature, flawless. As Fischer notes, ‘In the installation, paper/board model replicas of broken household objects assume their places carefully in a junk pile, presenting themselves as perfect but precarious possibilities.’ Carly Fischer was born in 1978 in Melbourne. She studied Painting at RMIT University before undertaking Honours in Sculpture in 2000. She has undertaken residencies in Berlin and LA, and currently lives and works in Melbourne.stonnington contemporary art collection, assemblage, miniature, replica, carly fischer, sculpture

Diggers & Mining. Getting the Gold. Slide: (Continued) The scene at the Gravel Pits was especially animated, and would have made a capital sketch. The crowded assemblage of white awnings on these clay heaps, which the diggers had raised to protect them at their work on rainy weather, these standing at different elevations; the diggers turning their windlasses; and others, in rows of half-a-dozen along the sides of muddy pools, working away at their puddling tubs with their shovels, chopping and stirring them about; other cradling; others washing out. (Continued) Markings: 34 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Daniel Boyd’s practice often investigates complex or contrasting forces, such as the primitive and the modern, this world and the next, and traditional techniques fused with contemporary methods. He completed a Bachelor of Arts at the Australian National University School of Art and in 2012 he was artist-in-residence at the Natural History Museum in London. There he reflected on the Museums collection’s historic images concerning the First Fleet’s arrival in Australia and their tendency to obscure the original identity of any indigenous subjects. It was during this residency he researched and made the Up In Smoke Tour series of work that concerns this omission and the lives of Indigenous Australians following the bleak realities of colonialism. Using archival resin glue and watercolour on photocopied images to recast and reimagine dot-paintings, Boyd masks attempts to identify the image or narrative of his works. He reinterprets Aboriginal and Australian-European history through recasting artworks and icons and altering the familiar interpretation of materials, here using Museum specimen boxes that previously contained the bones of Aboriginal people.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, cultural identity, daniel boyd, painting, assemblage

clippingBefore a large assemblage of V.I.P's, parents, friends, teachers and the boys and girls themselves, Ringwood High School was officially opened last Friday afternoon - after four years as a going concern- by the Minister of Education, the Hon. J.S. Bloomfield, M.L.A. One of the reasons for the delay of the official opening was that the school should be formally opened during the term of office of the retiring Head Master (Mr J.R. Bennett), a man who had qualified himself as a great Head Master, who had shown fine gifts of leadership and administrative ability allied to a warm humanity.

Four page document, not sequential. Front page: structural trends, major faults and folds in the Bendigo area are depicted in a diagram. Fault lines and folds include the Leichardt Fault, the Break O'Day Fault, Sebastian Fault, Whitelaw Fault, the Yankee Creek Fault and the Fosterville Fault. Aecond page shows the typical reef forms on the Bendigo goldfield (Willman 1988) in a diagram. The Sebastian goldfield is described, with its four lines of reef, the Eureka, Gaskill's, Frederick the Great and Gamboni. Third page describes the White Hills gravels. Fourth page is a table showing thel biostratigraphic zonation of the Ordovician bedrock based on key graptolite forms and assemblages.bendigo, mining, geological bulletin

Diggers & Mining. The Diggings The Diggers. Slide: Forest Creek Diggings. (From Our Own Correspondent.) I arrived here on Sunday fornoon, and was much gratified at the sight that presented itself: every here and there was Divine Service being performed by ministers of almost every persuasion, whose ministrations were attended by devout and numerous congregations. The services were repeated in the evening and when the psalms and hymns were sung by the respective assemblages on the slopes of almost every hill, it really put one in mind of what e have been told of primitive times, and the days of our forefathers. (M.M.M., Dec. 20, 1851) Markings: 74 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Nicholas Mangan is an Australian multidisciplinary artist known for his sculptural and film-based installations that explore the complex relationships between global economic systems, resource extraction, and the natural world. The 'Brilliant Errors' works are unique, non-editioned pieces, comprising of photographs and news clippings pinned to cork board, framed under bright orange Perspex. The images and news clippings relate to Mangan’s research into the history of the sun and its life-giving properties, more recently harnessed by the solar industry as an alternative to coal. The images and news clippings stem from a wide range of sources – from human sacrifice in ancient Mayan culture to the biophysics of the Russian scientist, Alexander Chizhevsky; currency fluctuations to the eleven-year solar cycle itself. The bright orange Perspex glows vividly when hit by natural light, reminding the viewer of the centrality and omnipresence of the sun’s power in the structure of our days and lives. Born in Geelong, Nicholas Mangan lives and works in Melbourne. After completing a Bachelor of Fine Arts at the Victorian College of the Arts, University of Melbourne, he undertook a two-year studio residency at Gertrude Contemporary, and earned a PhD in Fine Art at Monash University, where he currently serves as Senior Lecturer.stonnington contemporary art collection, natural environment, resource extraction, geopolitics, solar, renewable energy, sustainability, collage, sculpture, assemblage, nicholas mangan

Nicholas Mangan is an Australian multidisciplinary artist known for his sculptural and film-based installations that explore the complex relationships between global economic systems, resource extraction, and the natural world. The 'Brilliant Errors' works are unique, non-editioned pieces, comprising of photographs and news clippings pinned to cork board, framed under bright orange Perspex. The images and news clippings relate to Mangan’s research into the history of the sun and its life-giving properties, more recently harnessed by the solar industry as an alternative to coal. The images and news clippings stem from a wide range of sources – from human sacrifice in ancient Mayan culture to the biophysics of the Russian scientist, Alexander Chizhevsky; currency fluctuations to the eleven-year solar cycle itself. The bright orange Perspex glows vividly when hit by natural light, reminding the viewer of the centrality and omnipresence of the sun’s power in the structure of our days and lives. Born in Geelong, Nicholas Mangan lives and works in Melbourne. After completing a Bachelor of Fine Arts at the Victorian College of the Arts, University of Melbourne, he undertook a two-year studio residency at Gertrude Contemporary, and earned a PhD in Fine Art at Monash University, where he currently serves as Senior Lecturer.stonnington contemporary art collection, natural environment, resource extraction, geopolitics, solar, renewable energy, sustainability, collage, assemblage, sculpture, nicholas mangan

Murray WALKER (1937- ) Born Ballarat, Victoria Described as one of Melbourne's Figurative Expressionists Murray Walker educated at the Ballarat Technical Art School (a division of the Ballarat School of Mines) in 1952 and 1953, followed by the National Gallery School and RMIT Art school, Melbourne between 1858 and 1859. He studied at the Slade School of Fine Art (London) from 1960 to 1962, with a Summer School at the Academia della Belle Arti, Perugia, Italy in 1961. Myth, narrative and people form an important place in the work of Murray Walker, and he has worked in many mediums including printmaking, painting, collage, assemblage, ceramics and tapestry design. Humour and storytelling are a feature of his work Figurative ExpressionismGift of Dr Graeme Williams OAMFramed hand coloured pen drawing of a number of life modelsavailable, alumni, life models, nude, life drawing

On the 14th May 1927 his Excellency Lord Somers, in the presence of a large assemblage opened Braille Hall at the Braille Library (now Vision Australia Library) in Commercial Road, South Yarra. To mark appreciation of the gift of the hall by the two benefactors Edward Wilson and Richard Gibson, the committee placed two of the stained glass windows on each side of the hall’s fireplace. Commissioned by Librarian Miss Millicent Ritchie, the windows depict four British authors - Scott, Milton, Shakespeare and Dickens. They were removed from South Yarra in 1999 for conservation work and cleaning prior to their relocation to Kooyong in 2001. In 2017 refurbishment works made the windows redundant however they were reinstalled either side of the main entranceway in 2018. 4 x stained glass windows depicting famous writersbraille and talking book library, millicent ritchie

Gracia Haby and Louise Jennison have been creative collaborators since 1999, working together to make artist books, zines, collages, drawings, prints and stories. In this artwork, the animals have the upper hand. They are turning the tables on French acrobat, circus owner, and animal trainer, Alfred Court (1883-1977). In 1925, Court's menagerie boasted a collection of 25 lions, 8 tigers, 9 hyenas, 7 wolves, 3 cougars, 12 polar bears, 16 panthers and leopards, 5 jaguars, 2 cheetahs, and an extensive assemblage of exotic animals, including antelopes, llamas, and camels, alongside several monkeys, porcupines, and mongooses. Haby and Jennison’s collaboration explores their mutual fascination with the adaptable possibilities of paper and found images.

In Frog B, Zac Langdon-Pole deconstructs and reweaves history by blending two vastly separate images into a single, cohesive collage. This intricate work merges a 2022 NASA James Webb Space Telescope photograph of the Tarantula Nebula with Johann Nepomuk Schödlberger’s 1830 Romantic landscape painting, Rocky Coast in Moonlight. Using the the common interlocking structure of jigsaw puzzles, Langdon-Pole splices deep space imagery with 19th-century European romanticism. The result is a pixelated, hybrid tapestry where disparate eras and scales collide. The composition operates like a "Mooney image"- a cognitive science tool using stark dark and light tones to test how human perception fills in gaps based on prior knowledge. Through this assemblage, Frog B challenges our impulse to find absolute order, forcing us to confront how historical, scientific, and colonial frameworks shape our understanding of the universe.stonnington contemporary art collection, zac langdon-pole, tarantula nebula, nasa, james webb space telescope, jigsaw puzzle, assemblage, johann nepomuk schödlberger, rocky coast in moonlight, science, universe, deep space, romanticism

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Julie Montgarrett is an Australian artist, curator, and educator whose practice spans textiles, drawing, and installation. Over four decades she has developed a distinctive approach that combines narrative, memory, and materiality, using cloth and paper as carriers of stories that are both personal and collective. Her main interests are in the areas of drawing and textile to extend the conceptual and spatial possibilities of textile as narrative questioning dominant Australian histories. Montgarrett is known for employing textile traditions, such as stitching, dyeing, and assemblage, alongside drawing and installation to create works that are intimate yet expansive in meaning. Ephemeral materials and time-intensive processes become metaphors for endurance, vulnerability, and care, allowing her to weave together past and present in poetic, visually striking forms. In addition to her studio practice, Montgarrett has contributed significantly to the Australian arts community through teaching, mentoring, and curating.

Was the stand for a Chance Brothers air & oil containers fitted with pump handle & pressure gauges.This type of installation was once common and relied on the lightkeeper having to pressurise the cylinders manually at regular intervals throughout the hours of darkness. The oil was fed under pressure to the burner mantle. It is all that remains of an air and kerosene oil tank installation, with each rounded side formerly supporting a heavy iron tank. The containers would have been fitted with a pump handle and pressure gauges. An intact assemblage is displayed in the AMSA offices, Canberra with a text that explains ‘This type of installation was once common and relied on the lightkeeper having to pressurise the cylinders manually at regular intervals throughout the hours of darkness’.The system involved vaporising kerosene under pressure and mixing it with air and then burning the vapour to heat an incandescent mantle. The use of kerosene as a fuel to light the lantern became the most common system of illumination from the 1860s after the oil industry in the United States began to develop. The kerosene vapour burner was created in 1901 by British inventor Arthur Kitson (1859-1937) and perfected by Chance Bros for burning a more intense light in their renowned lenses. The lamp had to be watched throughout the night in case a mantle broke, and the tanks needed to be maintained by hand-pumping each hour or so. The Point Hicks lantern was initially lit by a six-wick Trinity house kerosene burner. This was replaced by the more efficient and brighter 55mm vaporised kerosene mantle burner in 1905, and the tank stand is probably original to this apparatus. Electricity eventually replaced kerosene at Point Hicks in 1964 making the tank installation obsolete, and the last kerosene system in an Australian lighthouse was replaced in 1985. Gabo Island Lightstation has a pair of tanks that are not attached to the optical system and are no longer in the lighthouse. They are also missing the pressure gauges that were formerly attached to the top of each cylinder. An intact tank assemblage is displayed at the Cape Schanck Lighthouse Museum it is detached and not original to the lighthouse. Although corroded, the remnant Point Hicks tank stand has first level contributory importance to the lightstation. It is significant for its provenance and historical value as part of the Chance Bros vaporised kerosene burner introduced in 1905 to intensify the light and improve the efficiency of the system. The rusted iron stand rests on four short legs and is shaped like a pair of spectacles.

Hannah Gartside works across sculpture, installation and video. Her artworks transform found fabrics and clothing to articulate experiences and sensations of longing, tenderness, care and desire. The artist writes: “Waiting is a large-scale, found textile assemblage. This artwork continues my use of found, second-hand women’s clothing and accessories to tell transformation stories. Twenty-seven sleeves have been carefully unpicked from variously patterned black, silver and grey sequinned party dresses and blouses, and applied onto a silvery sequinned base fabric arc (the arc was once the skirt component of a party dress). These are celebratory fabrics worn for special events. I have stitched circles of firm millinery wire into the hem at the wrist of each sleeve, and added soft shoulder pads at the head to suggest an invisible arm in each sleeve. Viewed through my metamorphosis short story ‘Frances, the moth’ (which describes a lonely woman who transforms into a moth after cutting herself out a cape using a pair of magical scissors), the sleeves in Waiting refer loosely in shape and form to a group of moth or butterfly cocoons suspended in time. They hang winking and sparkling, waiting patiently for change.”

A formal group photograph of the grand opening of the Victoria Street Bridge on March 31 1884. The Argus was to report that: ‘The ceremony of laying the memorial stone of the Victoria-bridge, which connects Kew and Hawthorn with Richmond and Collingwood, was performed yesterday afternoon by the mayor of Richmond (Mr John Adam) in the presence of a large assemblage. Among the gentlemen present at yesterday’s proceedings were the mayor of Collingwood (Mr. M. Dwyer), the Mayor of Melbourne (Councillor C. Smith, M.L. A.) the mayor of Kew (Mr. Barnard), Mr. J. A. B. Koch and Mr. W. W. Shelley (ex mayors of Richmond), Mr. Joseph Bosisto, M.L.A., the Hon. L. L. Smith, Councillor De Mole (ex mayor of Kew), Mr. Jas. Lancashire and Mr. Winter (ex mayors of Ricmond), Mr. Walker (ex mayors of Collingwood), Mr. Johnson (engineer), Mr. C. Rowan, C.E. (engineer of the bridge alterations) and the town clerks of Richmond, Collingwood and Kew.’ Following the opening ceremony ‘… a ponderous steam roller was driven over the structure, with a view to test, or rather to demonstrate its stability … Most of the gentlemen present walked over the bridge, after which they were grouped by a photographer, with the memorial stone as a central feature, and several views of the scene were taken’.An original, rare silver albumen mounted and titled photograph of an important event in 19th century Melbourne.Original photograph mounted on display card of the opening of the Victoria Street Bridge. The original photograph is very faded and has been enhanced to improve the image's viewability.On the reverse of the card is an indecipherable stamp and an inscription identifying the photographers. "T. W. & C. A. McAlpine Bros, Photographers &., Campbell Parade East Richmond Melbourne March 31.1884victoria street bridge, john adam, m. dwyer, c. smith, barnard, j.a.b. koch, w.w. shelley, bridge, kew, collingwood, l.l. smith, joseph bosisto