Article from the Sunday Age 27 August 1995 on Edna Walling's garden design practices by Susanne Leonard.walling, edna, gardens

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

Reid’s Coffee Palace was constructed in 1886 and designed by architecture practice Tappin and Gilbert, with extensions designed by Tappin, Gilbert and Dennehy built in 1888. Advertisement for Reid's Coffee Palace, Ballarat,.ballarat, hotels, reid's palace, reid's coffee palace

The GE12 Electric Kettle was designed by Barry Hudson for General Electric and in 1978 won the Australian Design and the Prince Philip Prize awards for Australian Design. The kettle was innovative in many ways; it was an early example of an all plastic electric kettle with a single-handed opening-spout. According to design historian Ian Wong ‘The use of an integral hinge for the spout opening mechanism utilised the unique live hinge property of polypropylene, now common but at the time a novel use and very efficient to manufacture.’ The kettle was available in Carpentaria Orange, Blaze Yellow and Lime Green with a contrasting base. Barry Hudson (1935-2008) studied Mechanical Engineering at the Melbourne Technical College (MTC). In the 1970s he was Research and Development Manager at General Electric, and he also worked with the industrial design practice Rosenfeldt, Gherardin and Associates. He established Barry Hudson Industrial Design in the 1980s and began a teaching career at the former MTC, now known as RMIT University. Ann Carew, 2020 1978 the Kettle won an Australian Design Award and the Prince Philip Prize for Australian Design.Orange and brown electric kettlekettle, industrial design, rmit university, domestic appliances

Over the years, Australia has issued numerous commemorative $2 coins, often featuring vibrant colors and themes honoring national events, heroes, and cultural milestones. This coin was issued in 2008 to celebrate the centenary of Scouting in Australia. Sunshine Scouts & Cubs are part of the global youth movement that empowers young people to become responsible, active citizens through adventure, education, and service. It fosters character development, leadership, and community engagement across cultures and continents. Activities include: - Camping: From weekend bush camps to international jamborees. - Hiking & Orienteering: Map reading, compass skills, and trail navigation. - Survival Skills: Shelter building, fire lighting, and water purification. - Nature Conservation: Tree planting, wildlife monitoring, and clean-up projects. - First Aid: Emergency response and safety training. - Cooking: Campfire meals, bush cooking, and nutrition. - Crafts & DIY: Knot tying, woodwork, leatherwork, and badge-making. - STEM Projects: Robotics, coding, and environmental science. - Drama & Performance: Skits, storytelling, and talent shows. - Music & Dance: Campfire songs, cultural dances, and instrument practice. - Art & Design: Poster-making, painting, and costume creation. - Service Projects: Volunteering, fundraising, and helping local causes. - Leadership Training: Patrol leader roles, mentoring, and public speaking. - Cultural Exchange: International pen pals, travel, and global awareness. - Badge Work: Earning merit badges in areas like fitness, communication, and innovation. - Team Challenges: Problem-solving games and cooperative tasks. - Reflection & Journaling: Personal growth and goal setting. - Environmental Advocacy: Sustainability campaigns and eco-challenges.Australian One Dollar Coin. The obverse side features the portrait of Queen Elizabeth II. The reverse side features the international symbol for scouting, the fleur-de-lis representing the compass which symbolizes the three promises made by all scouts and cubs throughout the world.Obverse Side - Elizabeth II Australia 2008 Reverse Side - Centenary of Scoting 1908 - 2008 Scouts Australia One Dollarscouting, scouts

.1 Cream cover with black and green floral design and leather spine with gilt patterns. The pages have a gilt edging and the spine is partly detached. The pages contain printed material and handwritten entries .2 Black cover with yellow and green floral design. The spine is leather and has gold printing and lines. The pages have a gilt edging and contain printed material and handwritten entriesnon-fictionTwo birthday books with entries of birthdates 19th century warrnambool people, beattie family warrnambool, beattie and phillips funeral directors

This clock was over the door of the shop of Sambell’s pharmacy at 90 Fairy Street. John Sambell opened the Hall of Pharmacy in Fairy Street, Warrnambool about 1890. He was a chemist and dentist with previous experience in Great Britain and Victoria. His shop had been conducted by Edward Griffiths in the 1880s. By 1919 John Sambell’s son, Herbert, had joined the business, trading as Sambell and Son, though John Sambell had died in 1906. This shop was located at 151 Fairy Street. The Sambells then built new shops on the north eastern corner of Koroit and Fairy Streets and occupied the corner position. In the late 1930s the Sambell business moved to 90 Fairy Street and the business was known as Sambell, Son and Granddaughter. Herbert Sambell died in 1943. This Sambell clock had previously been at the shops of Brocks and Mainlands, both jewellers. This clock is of considerable importance as it was connected to the pharmacy business of the Sambell family, a business that was prominent in Warrnambool for many years. It is an example of the 19th and early 20th centuries practice of placing a large clock outside a business. This is a large oval clock with a gilded wooden frame and a metal face. The hour and second hands and the Roman figures are made of metal. The clock is designed to be placed on a wall or frame of some sort and to be used outside on a shop or other commercial building. The outside frame is somewhat dented.sambell pharmacy, warrnambool

In 1906 and 1907, students were taught to write with the letters joined. To achieve this booklets were designed to enable the student to copy the example and to repeat this, often to gain perfection. A student could be practising his/her writing while the teacher attended to other students and/or classes.Oliver Fisher lived at Mongan's Bridge a small, remote, rural area in the Kiewa Valley.Soft covered small booklet - grubby blue on back and very faded 'blue' on front with black writing. Held together with 2 staples. "For Tracing with lead pencil or pen. / Introductory Book, Price One penny" Writing surrounded by fancy graphics. Border is thick but not solid black line.Inside book letters have been copied but joined up to practice writing eg. m m m and then mu mu mu Each page is different. On some pages the date has been writteneducation, writing, mongan's bridge, oliver fisher, school

This small hand-operated chaff cutter was designed for generating feed for poultry. It was owned by Dr Murphy, Emerald's first and much-loved doctor, who moved to Emerald in the 1940s planning to breed turkeys.This chaff cutter is significant because it recalls some early farming practices and because it was owned by a well-known Emerald doctor.Small iron chaff cutter consisting of two toothed wheels to grip and feed grasses etc. to the cutter blades by means of toothed cogs connected to a screw threaded central shaft. On outer frame: 'NOURRISEUR JAPY'chaff cutter, nourrisseur japy, dr murphy, 1940s

This trap is designed so that the metal jaws snap shut against each other when the trap is activated by the application of weight to the pressure plate. In use, traps are set with open jaws, buried lightly just below the surface of the earth. When an animal steps on the pressure plate, the jagged teeth of the jaws snap around the animal's leg, usually breaking bone and sinew, thus immobilising the animal. After rabbits were released in Australia in the 1850s, they multiplied to plague proportions and the demand for traps grew. Henry Lane's 'Ace' trap was first made in 1935 and was the most commonly used rabbit trap in Australia until about 1970. Rabbits were trapped for food especially during the Great Depression. Today, rabbit trapping is considered labour intensive, inefficient and ineffective for large-scale rabbit control in Australia. It is also considered cruel.Rabbit trapping would have been a common practice in the local Emerald area from the 19th century until more recently.A steel-jawed trap constructed on a base consisting of a bar of steel, the stock bar, which is bent over to form a powerful bow spring. At the end of the spring is a hole, the spring eye, which encircles and closes the jaws when the trap is triggered. They close over the top of the bridge, plate and tongue mechanism that is designed to trigger the trap. An 8-link chain is attached by a hook on the bent end of the trap's spring. A long steel spike is looped over the last link of the other end of the chain together with two hooks. The jaws of the trap are flat, without ridges. Some small scraps of old newspaper are caught between the jaws.rabbit trap, great depression

We have been unable to find a brand name or identify any identical items online or in other collections, indicating that this may be a custom-made tool designed specifically for use on a nursery - potentially C.A. Nobelius' nursery. It appears to be a foot-pedal operated hole punch, designed to reliably puncture metal pots for orchard trees. In the 1940s, the Nobelius nursery began to lift trees from the ground and sell them in pots rather than as bare-rooted plants; at this time, plastic was not yet widely available and many discarded biscuit or fruit tins were reused as pots. Potted trees required regular watering, and holes in the bottom of the pot for water to run out from; this hole punch may have facilitated an easier potting process until the popularisation of plastic pots in the 1960s.This item was a tool used in nursery practices in the 1940s, potentially including on the Nobelius nursery. Similar items are rare or difficult to find.This item rests on a cross base, with holes in each of the cross arms to allow it to be secured. The lower third of the central shaft is hollow, allowing for a foot pedal to descend through it. The middle third of the shaft is also hollow, with a loose central section affixed to the foot pedal moving up and down within it. In the upper third of the shaft, the hollow outer layer ends, and the mobile inner shaft is wrapped in a spring and affixed to the crossbar at the top of the item. Four small fixed crossbars also emerge from the sides of the middle third, attached to vertical rods through a rotating joint; the vertical rods attach with another rotating joint to pieces emerging through through the upper crossbar surface and ending with sharp points. The base and central shaft was painted yellow, and the upper crossbar head is painted red, though both are heavily faded. Together, these parts form a contraption that, when the foot pedal is pressed down, pulls the head downwards, in the process rotating the pointed pieces inwards to puncture the item placed on the head. When pressure is released, the spring returns the head to its initial position.N/Anursery, tools

This copy book is for the practice of copperplate handwriting and was used at the Orbost School. It was not until the mid-20th century that Australian schools were investigating the modern cursive styles being taught overseas. Writing slates and slate pencils had been a commonplace item of everyday life in colonial Australia. Slates were generally only used by school children in the most junior grades By Class III, however, school children in Victoria had normally passed beyond the need for slates in shaping letters and used ink and copybooks instead. Writing slates often continued to be used for arithmetic exercises. the use of slates was discontinued mainly because paper became cheaper and writing on paper was deemed to be more hygienic.This item is an example of a school text book commonly used for the practice of handwriting in most primary schools in Australia. It shows a style of handwriting not commonly used today. The Cameron family is significaant in the history of Orbost.A school handwriting copy book. It contains examples of copperplate writing for copying and practice. On the front cover there are drawings of a kangaroo, emu, platypus and echidna in each corner. The book is titled "AUSTRALIAN COPY BOOK FIFTH GRADE No. 4". It is designed for use in all states and New Zealand. Inside a banner is "small hand proverbs geography commercial terms". All print is black.on front cover: Jean Cameron Inside front cover: Jean Cameron 1924, J.M. Ralston 1924handwriting education cameron

Promoting the Graphic Design/Multimedia program being offered by the University of Ballarat at the Mt Helen Campus. Promoted course as "one of the smallest and arguably the best three year programs of its kind in Australia and the South Pacific region." The brochure lists student awards received including Platinum and Gold in the AGFA International Young Designer Contest, 1999; two meritorious awards in The Art Directors Club Student Awards, New York, USA 1999; Graphis New Talent 1999; two Gold in Souther Cross Packaging Awards, 1998. At time of publication, the School of Arts, Visual Arts reportedly had 210 students with majors in Graphic Design/Multimedia, Ceramics/3D, Painting, Drawing, and Multidiscipline. Minors studies included Printmaking, Photography, 3D, 2D, and Graphic Communication. ___ Course aimed to train "independent, flexible thinkers". The course promised to "Promote creativity, originality and imaginative thinking; Develop self-directed learners, displaying initiative in the formation of ideas and the confidence to construct personal responses; Develop appropriate conceptual, technical and professional skills; Develop the student's critical process: ability to undertake research, and to make informed decisions; Clarify thinking, concepts and understanding and deep knowledge, attitudes and skills enabling the designer to respond to community needs." Studio and working environment described as "one open space with working facilities for approximately 75 students across 3 year levels. The area is divided up into work stations where 1st, 2nd and 3rd year students intermix, allowing a natural interaction. These workstations are configurations of six, consisting of two students from each year level. This reinforces the area's ongoing development with an open ethos and cross-level delivery and learning. This maximises the use of information in order for it to be applied throughout all levels of the learning process, whilst allowing a natural mentor arrangment to be developed for all first year students, " "The open ethos approach also encourages students and staff to freely express their opinions in relation to design via cross-level critiques, whilst allowing for a liberal arts approach and structure to the development of the creative process." "Emphasis is placed on experimentation, innovation, expression and the development of the individual's design philosophies, concepts and style." Also notes the 24 hour access Macintosh laboratory, with 34 Power Macintosh computers, ratio of one for every 2.5 students. Each with a Fujitsu Dyna Magneto Optical drive for file storage and transport. Two Sharp scanners, Phaser Dye-Sublimation Extra Tabloid colour printer and Ricoh A3 colour printer. Two large format printers. Digital and video cameras. Software: Adobe Photoshop, Illustrator, Acrobat; QuarkXpress; Macromedia Freehand; Pagemaker; Premier; Director; 3D Extreme; Sound Eidt, Shockwave, Infinite 3D and After Effects. Approx 4.5 staff, "all of whom are practicing designers. They have a full understanding of industry requirements and trends which assists in the development of industrial contacts when specialists are required." Prospective students interviewed in late Nov/ early Dec, face to face. Present a "comprehensive folio of work", academic records, references. "Selection is determined by the perceived potential of the student, their motivation and reason for study within the field as well as their previous experience in the Visual Arts. Folio work should be representative of the individual's ideas and abilities. Qualities of importance are: originality, innovation, imagination, experimentation and a competent display of the basic skills associated with visual arts [evidence of drawing skills should be included]." Demonstration of GD/MM computer skills an advantage. Students also asked to bring sketch books. Promotional brochure for prospective students. 8pp Double fold brochureuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

The M18A1 'Claymore' Directional Fragmentation Mine which is used as part of the perimeter defences at, for example Fire Support Base or for use in ambush situations. The convex side is faced toward the enemy and the mine is configured to be electrically detonated from a remote location, (these mines can be connected by white "det cord" & detonators from the detonator wells show to link a series of mines)). It is raised off the ground by a small stand to maximise the blast radius. Claymore mines contain 700 steel ball bearings impressed into 650 grams of plastic explosive. The M18A1 has a lethal range of up to 100 metresA replica of the M18A1 'Claymore' Directional Fragmentation Mine. The convex side is faced toward the enemy and the mine is configured to be electrically detonated from a remote location. In practice this mine type is raised above the ground slightly by a small legs designed to maximise the blast radius. These mines contain approximately 700 small steel ball bearings impressed into 650 grams of plastic explosive. The M18A1 has a lethal range of up to 100 metresOn the front"Front Toward Enemy" on the reverse "Back M18A1 Apers Mine"

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 74 of Photograph Album with four photographs (three portrait and one landscape) of different views of the Caulfield Town Hall.Hand written: Caulfield Town Hall cnr Hawthorn & Glen Eira Rds [top right] / 74 [bottom right] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, municipal, adamesque plasterwork, adamesque, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, post and telegraph office, goldsmith and jenkin, courthouses, surveyors, architects, classical architectural style, streetscapes, gardens, cars, glen eira town hall, depression 1929-1939

This photograph is part of the Caulfield Historical Album 1972 but is noted as taken in 1922. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 75 of Photograph Album with one portrait photograph of the exterior of Caulfield Town Hall taken in 1922.Hand written: FEBRUARY 1922 [under photo] / 75 [bottom left] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, adamesque plasterwork, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, palms, gardens, post and telegraph offices, goldsmith and jenkin, architects, city of caulfield, ivy clad walls, surveyors, depression 1929-1939, glen eira town hall

This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school

Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events

Take Hold of the Clouds is a curated exhibition featuring two key works by renowned international contributors – Forensic Architecture’s Cloud Studies (2021) and Cauleen Smith’s Sojourner (2018) – along with six, newly commissioned, responsive works from local and national creative practitioners. The experimental exhibition is distributed across seven of the city’s most significant buildings and urban spaces, with each temporal creative work adding a new layer to how we understand these spaces in relation to the world around us. Embedding the work within the city itself rather than a traditional gallery, the exhibition models best practices for high-impact yet sustainable and resource-sensitive exhibition-making. Created in partnership with Monash University, Take Hold of the Clouds navigates the Weekend’s theme of Built/Unbuilt through a series of thoughtful encounters in which artists reveal the invisible stories and issues in corners of the city. The exhibition is conceived by Tara McDowell, Director of Curatorial Practice at Monash Art, Design and Architecture, and co-curated with Fleur Watson, Open House Melbourne’s Executive Director. To create this poster, the artist used a copy of of one of Walter Butler plans for the 7171 building held in the archives as an homage to the architect. The sketch was then retouched to make it loo like a blueprint. The Mission is one of the sites open every year during Open House. A3 size Blue print type plan print on glose paper.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, blueprint, plans, walter richmond butler (1864–1949), cultural events

Open House 2022: "Like many Melburnians, Ying-Lan Dann has long been fascinated by the Mission to Seafarers, in Docklands. When she was invited to create a work in response to a building as part of this year’s Open House Melbourne, she knew immediately which it would be. Taking a peek behind the closed doors of some of Melbourne’s finest and most interesting buildings is a core premise of the weekend event, now in its 15th year. During that time, the program has grown from half a dozen buildings to a 200-plus strong list that extends to Ballarat and Bendigo. “[It’s] much more expansive and citizen-led,” says Fleur Watson, Open House Melbourne’s executive director. “As a public festival, it has always had a spirit of generosity, this gesture of opening up and allowing visitors to come and look and experience things.” Swinging open their doors at the end of the month will be some of the city’s finest mansions, including Villa Alba in Kew and Brighton’s Billilla, the Cairo flats in Fitzroy, the newly renovated Jewish Museum designed by Kerstin Thompson, the Melbourne Quakers Centre, the Albanian Mosque in Carlton North and many more. Considering how to approach the event this year, held remotely for the past two, Watson decided to explore beyond the traditional, with associate professor and director of curatorial practice at Monash University Tara McDowell. The two have co-curated an exhibition of works to run concurrently with the Open House program, called Take Hold of the Clouds. That’s where Dann’s work, Circular Temporalities, comes in, one of seven commissions around town in which local and international artists respond to chosen buildings or sites. A lecturer in interior design at RMIT as well as an artist, she is interested in time and finding different mediums to show things in flux and, having grown up on Phillip Island, she often uses water as a theme. When she started spending time at the Mission, Dann found there was an oculus at the top of the dome, known as the Norla Dome. She thought about how that small but significant opening related to where sailors spent so many months of the year, the sky being the only thing they would see much of the time, stars guiding the way in times gone by, and of the recent stories she’d heard about sailors being trapped at sea during COVID. Built in the Arts and Craft style between 1916 and 1919 and designed by architect Walter Butler, the Mission includes a chapel, clubroom, Chaplain’s house, a small cottage and the Norla Dome, which was apparently inspired by the Pantheon. The Mission was funded by the government and the Ladies Harbour Lights Guild, who Dann was also intrigued by. “One of the things those women identified is that life at sea is very dangerous [and they] wanted to give them a space of sanctuary and support,” she says, adding that for many years, the dome was used as a gymnasium. Her work inside the dome includes a 35-minute loop film, recorded from the ferry during the crossing from Queenscliff to Sorrento. The horizon takes up about a third of the shot and moves as the waves rise and fall, mirroring the journeys made by the sailors who found refuge at the mission over the years; it will be projected onto a gauze-like fabric, allowing glimpses of the building behind. Dann also plans to activate the site over the course of the weekend and will read a poem by Justin Clemens.The articles gives an insight of the création of the artwork by Ying-Lan Dann. digital copy of an article with photographs published in the Ageopen house melbourne, 2022, ying-lan dann, take hold of the clouds, norla dome, exhibition, the age, cultural events

William Scott Purves Godfrey (1872-1953) designed the chairs and Miss Gladys Hawkey (1886-1974) carved them. W.S.P Godfrey was born in Toorak on 6 April 1872. He was was the cousin of Ethel Godfrey. Educated in Brussels and at Melbourne Grammar, he studied Architecture at the University of Melbourne. He and Henry Howard Spowers established the architectural firm Godfrey & Spowers, known for the design of the Argus building, around 1901. W S P Godfrey retired from practice in 1944. He died in August 1953, aged 81. He's buired in the St Kilda Cemetery with the Godfrey family. Gladys Hawkey was a member of the Guild. (photographed during the Norla Fete). She was born in Sandhurst, Bendigo and is buired in the Bendigo Cemetery. Little is known about Gladys Hawkey. She may have been a student of Robert Prenzel. Another mention of her work is made in an article in 1915 where her escritoire is offered in a raffle to raise funds for the Australian sick and Wounded. The chairs were donated in 1919 when the Flinders Street mission was open. In a style of Robert Prenzel with Australian Flora, the chairs are in the typical Arts and Crafts style. Like many women from the early 1900s, she was likely to have been inspired by the Australian exhibition of women's work and other female woodworkers of the time.Handcarvedgladys amy hawkey (1886-1974), william scott purves godfrey (1872-1953), lhlg, ladies harbour lights guild, chapel, flinders street, mission to seafarers, seamen's mission, wood carving, godfrey and spowers, heritage listed, arts and crafts, gifts-1917

The K class was a branch line steam locomotive that ran on Victorian Railways in Australia from 1922 to 1979. Although its design was entirely conventional and its specifications unremarkable, the K class was in practice a remarkably versatile and dependable locomotive. It went on to outlast every other class of steam locomotive in regular service on the VR, and no fewer than 21 examples of the 53 originally built have survived into preservation. https://en.wikipedia.org/wiki/Victorian_Railways_K_classDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca railway station, george coop collection, k-155, k-175, k-182, k-class steam locomotive (vr newport workshops), railway workshop

The K class was a branch line steam locomotive that ran on Victorian Railways in Australia from 1922 to 1979. Although its design was entirely conventional and its specifications unremarkable, the K class was in practice a remarkably versatile and dependable locomotive. It went on to outlast every other class of steam locomotive in regular service on the VR, and no fewer than 21 examples of the 53 originally built have survived into preservation. https://en.wikipedia.org/wiki/Victorian_Railways_K_classDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca railway station, george coop collection, k-155, k-175, k-182, k-class steam locomotive (vr newport workshops), railway workshop

The K class was a branch line steam locomotive that ran on Victorian Railways in Australia from 1922 to 1979. Although its design was entirely conventional and its specifications unremarkable, the K class was in practice a remarkably versatile and dependable locomotive. It went on to outlast every other class of steam locomotive in regular service on the VR, and no fewer than 21 examples of the 53 originally built have survived into preservation. https://en.wikipedia.org/wiki/Victorian_Railways_K_classDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca railway station, george coop collection, k-155, k-class steam locomotive (vr newport workshops), railway workshop

The Victorian Railways J class was a branch line steam locomotive operated by the Victorian Railways (VR) between 1954 and 1972. A development of the successful Victorian Railways K class 2-8-0, it was the last new class of steam locomotive introduced on the VR. Introduced almost concurrently with the diesel-electric locomotives that ultimately superseded them, these locomotives were only in service for a relatively short time. https://en.wikipedia.org/wiki/Victorian_Railways_J_class The K class was a branch line steam locomotive that ran on Victorian Railways in Australia from 1922 to 1979. Although its design was entirely conventional and its specifications unremarkable, the K class was in practice a remarkably versatile and dependable locomotive. It went on to outlast every other class of steam locomotive in regular service on the VR, and no fewer than 21 examples of the 53 originally built have survived into preservation. https://en.wikipedia.org/wiki/Victorian_Railways_K_classDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencybendigo, d3-640, george coop collection, j-512, j-class steam locomotive (vulcan foundry), k-158, k-168, k-182, k-class steam locomotive (vr newport workshops), railway turntable, railway workshop, bendigo railway station