Article by Jim Evans in the history lives series, published July 28, 2005, titled Bendigo's Italian flavors on the Favaloro's family.newspaper, bendigo, history lives

BHS CollectionArticle from the Bendigo Advertiser of Thursday, March 6, 2014. History lives: the women of Bendigo by Jim Evans.Women written in blue pen at top.women, bendigo, jim evans

'History Lives' article (Jim Evans - Bendigo Advertiser 17/04/2008) - re Reynolds family. Mention of Jorgenson family connection.person, individual, reynolds family, new moon mine, peter jorgenson. mt lyell mine.

Newspaper article (photocopy) "History Lives" by Jim Evans Bendigo Advertiser 28.2.2013 Article about items included in Patricia Coles Collection relating to the McLean family. Photograph already in Collectionjim evans, mcclean family, bendigo advertiser

Art Nouveau began in the 1880s as a reaction to classical, academic art. Itfeatures organic, especially floral motifs, highly stylized forms, and flowing curves. Artists aimed to integrate art into everyday life, influencing everything from architecture to furniture. Most outstanding examples are found in Riga (Latvia) and Brussels (Belgium), with Brussels townhouses recognized as UNESCO World Heritage sites for their architectural brilliance and historical importance. Local Examples are the Former Royal Bank Building (View Point): Built in 1908, designed by Beebe and Garin, now a restaurant. It survived the 1893 financial crash and stands out for its Art Nouveau influences. Denderah (now Cooloch House): Purchased and redecorated in 1910 by George Victor Lansell, featuring distinctive windows, colored glass, carved woodwork, and plaster ceilings. 159 Forest and Verona Street (Verona): Built in 1909 for Lawrence J. Murphy, notable for its cast-iron balustrade and curved woodwork, breaking traditional architectural lines.Contrast with Other StylesBendigo is known for its 19th-century classical buildings, but also features later styles like Art Nouveau and Art Deco. An upcoming Art Deco exhibition will be held at the Bendigo Art Gallery in September.History Lives Article - "New Art Has Classic Touch" - The Bendigo Miner Thursday Jul 24 2008 - Author Jim Evans, photos Bill Conroy This item contains the following: 11217.13a Colour Photo of Cooloch House on the corner of View and Valentine Streets - was Lansell's 11217.12b Colour Photo of Verona at 159 Forest Street 11217.12c Colour Photo of the former Royal Bank building at View Point (now the Whirakee Restaurant) 11217.12d Part of page - New Art Has Classic Touchnon-fictionbendigo, fortuna, george lansell, george victor lansell, denderah, cooloch, jim evans, art noveau

DVD. St. John Ambulance ''History Lives'' Photos.st. john's bendigo, ambulance services

In 1853, Bendigo Miners protested against the 30 shilling miners licence the had to pay the government. They wore red ribbons to show their protest and shopkeepers hung red ribbons outside their premises in support. Thousands of miners signed a petition to Governor LaTrobe to no avail. A protest gathering in Pall Mall marched to the Government camp on Camp Hill but this was a peaceful event again to no real avail.Newspaper articles: Bendigo Weekly Friday August 31, 2001. Hundreds march in red ribbon rebellion re-enactment. Bendigo Advertiser, Thursday December 6, 2012. History Lives by Jim Evans - Diggers united in protest. Bendigo Advertiser, Thursday January 10, 2013. History lives by Jim Evans - Milestones to be marked. Bendigo Advertiser, June 20, 2013. History lives by Jim Evans - Community to mark protest anniversary. Bendigo Advertiser, Thursday August 8, 2013. History lives by Jim Evans - Bendigo is ready to rebel.bendigo, history, red ribbon rebellion

A short guide to the history, lives and culture of the First Australians, the Aboriginal and Torres Strait Islander peoples.b&w photographs, colour photographsmoieties, reconciliation, land rights, mabo

Index, ill, p.221.non-fictionA history of the Australian Railways Union New South Wales division.australian railways union - victorian branch - history, trade unions - railways - history

The Bendigo Miner, Thursday March 8, 2012. An article by Jim Evans, history lives: Bendigo singer hits the right note. The article details the life of Bendigo soprano Lily Sharp.newspaper, bendigo, the bendigo miner

Article from the Bendigo Miner of Thursday, December 13, 2007, by Jim Evans in the series ''History Lives'' titled Mapping it out. Also attached a colour copy of a mining map of the Sandhurst goldfield in 1873.newspaper, bendigo, bendigo miner

Two articles, the first by Jim Evans in the history lives series titled: the butcher of Bendigo on Clark Jeffery. The second from the Bendigo Advertiser from Thursday, June 24th, 1993, titled: Clark Jeffrey turns on the magic.newspaper, bendigo, clark jeffrey

Renovating Fortuna Villa for community use could cost tens of millions of dollars and take up to four years. The restoration alone is estimated at a minimum of $15 million, with ongoing maintenance costs of several million dollars per year. Meeting heritage, building, and workplace health and safety requirements would add significant expenses. The City of Greater Bendigo council is considering future uses for the building after the army vacates it. Community groups have suggested uses such as an artists' retreat or health-related facility. There is consensus that the property should remain in community hands. Architect Dennis Carter warns that the scale and cost of restoration are much higher than many realize. He describes ideas like an arts centre as romantic but unrealistic given the financial and logistical challenges. Carter emphasizes the need for patience, thorough studies, and expert consultation before any decisions are made. Fortuna Villa is considered one of the most significant historic complexes in Australia, comparable to Werribee Park. There is strong sentiment that the property should not be allowed to deteriorate.History Lives Article - "Fortuna Refit Not an Easy Option" - The Bendigo Weekly Friday Jul 25 2008 - Author Anthony Radford This item contains the following: 11217.14a Colour Photo of Fortuna 11217.14b Part of page 7 - Fortuna Refit Not an Easy Optionnon-fictionbendigo, fortuna, george lansell, george victor lansell, fortuna renovations

The Bendigo Miner from Thursday, August 2, 2007. Article: no time like the present by Jim Evans part of the history lives series. The article describe the Trench Challenge Shield made and engraved by P. Prescott. The only name on the shield is that of William Crowley. The original shield is in the BHS collection as item 2075.bendigo, newspapers, the bendigo miner

Victoria Hill a historical background of Victoria Hill and the surrounding area. Original article by Albert Richardson 1971 and revised and edited in 2012 by Philip Wilkin. Contains 26 pages with colour and black & white photographs and a map. Inside front cover is a 'Bendigo Miner' History Lives article by Jim Evans, dated 10 May 2012.Albert Richardson & Phillip Wilkinbendigo, mining, victoria hill

In 1867, Frenchman Joseph Monier patented the use of metal reinforced concrete for use in horticultural troughs. Francois Hennebique expanded this idea into a general construction technique including for the construction of bridges bridges with the first bridge built in 1875. In Victoria, Monash and Anderson, representatives of the Australian patent holders and later Victorian patent holders. The Bendigo Monier Bridges were built between 1901 and 1902. Monash's contribution was not in the actual technology but in the promotion and defence of the new technology that was faced by much doubt and scepticism.Series of Bendigo Advertiser articles on the theme of Monier Bridges. Five articles from "Discover Bendigo" by James Lerk. 1999 One article from "History Lives" by Jim Evens titled 'Building History Bridges" 2014 Two black and white photos from "The Way we Were" featuring the construction of the Booth Street Bridge 2014 and the collapse of the King Street bridge 2015.monier bridges, engineering

Two 'History Lives' articles by Jim Evans : 1. 'Abbott's invention', H.A. Abbott's invention of Barblok wire and its use in World War 11 is described. In 'Name linked to city'. Captain Abbott and Richard Hartley Abbott's link to the cultural, community and political life of Bendigo is discussed. Richard Hartley Smith Abbott was a patron of the Art Gallery and responsible for the R.H.S. Abbott prize. richard abbott, art gallery, scale-buoy, harold athelstane abbott, barblok wire, james evans, bendigo historical society, frances and harold abbott foundation

''Newsletter of Australasia'' -1860 (Letter of John Reed to family on very light paper with etching from photograph of View Point, Sandhurst on front page). Four pages printed and published by the ''Herald'' and sub-titled 'A Narrative to send to friends'. The original presented to the BHS by Richard Guy. Text of the handwritten letter is within the accompanying 'History Lives' (Jim Evans) article in the Bendigo Miner, 21/10/2010.The Herald, 9 Bourke Street, East Melbourne. Bendigo Minerperson, individual, john reed, view point sandhurst. john reed, burke and wills expedition

Built in 1856 by J.T.C. Balderstedt as an eight-room, two-storey red brick house near the New Chum gold reef. Extended in 1869 with a three-room gabled wing. Surrounded by ornate gardens and a masonry wall, overlooking gold mining operations. Purchased by George Lansell in 1871 for 20,000 pounds. Lansell made significant additions and modifications; he died in 1906. By 1938, the property was in disrepair but avoided demolition.In 1942, the Australian military sought a secure location for map printing and storage north of the Great Dividing Range. The Commonwealth acquired a lease on Fortuna, and Army tradesmen made alterations. Major Sari and 150 men arrived in June 1942. The Australian Survey Corps and Women's Army Corps produced classified mapping documents during World War II. Purchased by the Commonwealth Government in 1951. The Royal Australian Survey Corps was disbanded in 1996.D efence Imagery and Geospatial Organisation (DIGO) was established in 2000 in Canberra and Bendigo to provide geospatial intelligence for defence.In 2004, it was announced that DIGO operations would remain in Bendigo but move from Fortuna. The Department of Defence plans to vacate Fortuna, with its future use undecided.History Lives Article - "Historic Building has Varied Past" - The Bendigo Weekly Friday Jul 25 2008 This item contains the following: 11217.15a Colour Photo of Fortuna Long Room 11217.15b Colour Photo of Fortuna Staircase 11217.15c Colour Photo of Fortuna Steps and Entrance 11217.15d Part of page 7 - Fortuna Refit Not an Easy Option 11217.15e Colour Photo of Fortuna Bathroom 11217.15f Colour Photo of Fortuna Entrance Pathnon-fictionbendigo, fortuna, george lansell, australian army survey corps

Four digital images of newspaper articles about Dudley House. a. Bendigo Advertiser 4.8.1974 Announcement that the Bendigo Branch of the RHSV is to occupy Dudley House. b. Bendigo Advertiser 9.9.2003. Article ''Our Institution's includes information on Dudley House. c. Bendigo Advertiser 17.2.2006. Article about Richard Larritt - first surveyor written by Jim Evans. d. Bendigo Advertiser 7.11.2013. ''History Lives''. ""Notices Shed New Light" - exploring the origins of the name "Dudley House'' written by Jim Evans.slide, bendigo, bendigo advertiser images

Bowl previously owned by donor's mother and father Mr and Mrs Cassidy of Koondrook. Mr and Mrs Cassidy (aged 25 and 22 respectively) were honeymooning in Bendigo on 18th March 1920 and obtained the bowl from the Bendigo Glassworks. This was passed on to their daughter Edna Peacock. Associated with the bowl is an article written by Jim Evans for the Bendigo Advertiser December 13th 2012 in his 'History Lives' column. The article illustrates the connection between Jannaya McKenzie (work experience student) and the bowl that was obtained by her ancestors. Green glass Ball made by Bendigo Glassworks 1920. Approx. 20cm diameter with narrow neck (broken) Interior is hollow and painted with what is purported to be gold dust. koondrook. edna peacock., cassidy, artwork

Various documents relating to Lydia Chancellor: a. Bound (Spiral) of catalogue of Auction Sale - Lydia Chancellor Collection at ''Taraxville'', Feb 1975 L L Dungey & Sons, Auctioneers, 1024 items; b. Unbound copy of catalogue of Auction Sale - Lydia Chancellor Collection at ''Taraxville'', Feb 1975 L L Dungey & Sons, Auctioneers; c. Newspaper cutting, Bendigo Miner Feb 21, 2008 ''Our fizzy days remembered'' re Lydia Chancellor Collection (''History Lives'' series by Jim Evans); d. Letter from Pethard family to Royal Historical Society of Vic - Bendigo Branch re their sympathy on death of Lydia Chancellor; e. three handwritten notes/letter to/from Lydia Chancellor. Mention re article on the Toll Gate, Big Hill; e. Stamped envelope with card inside relating to National Trust Silver Display July 1965.person, individual, lydia chancellor, auction sale, lydia chancellor antique furniture and fine china catalogue. l.l.dungey & sons. amy huxtable, pethard family, toll gate, big hill.

Stories of the first 73 occupants of the Phillip Island Cemetery describing the lives and history of the early residents of Phillip Island. Written by a Cleeland descendant, Pamela Rothfield.HistoricalLarge, soft covered book with large black and white and coloured photos and text.ISNN 978-0-646-99552-6phillip island cemetery, genealogy, forrest, jenner, richardson, cleeland, dixon, mcgregor, reid, walton, west, cox, underdown, mcillwraith, woolcock

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal