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 Advertsier 28.2.2013 Article about items included in Patricia Coles Collection relating to the McLean family. Photograph already in Collection

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

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

''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

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

One small and one large maroon coloured board with lettering in yellow. Small one has embedded name of 9th Battalion- Roll of honour. Large one has 35silver frames with Photograph of those who sacrified. On the bottom of the board is the Roman number IX with a RAM's head in the centre.Royal Australian Regiment - Duty first (All 35 photos have names, rank, company, date of passing and a short history of their lives, one silver frame is missing)honour roll, 9 rar

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

Portrait of William Edward Peach in First World War military uniform, holding a crop in front of his thighs with military kit on the ground behind him. A Beechworth postal employee who enlisted in 1915, this photograph is probably taken in 1917, as he is a corporal in the photo and was promoted to this rank in May 1917. This photograph is of historic significance as it depicts William Edward Peach, a Beechworth postal assistant who enlisted in the Australian Imperial Force (AIF) on his nineteenth birthday, 5 August 1915, which required his parents' permission. He was decorated with the military medal for his courage in battle 4/5 October 1917 at the Battle of Broodseinde Ridge near Ypres, the most successful allied attack of the Third Battle of Ypres (31 July to 10 November 1917), also known as the Battle of Paschendale, which saw the greatest loss of human life during World War One, with almost half a million lives were lost on all sides. According to the recommendation for his military medal, Peach 'displayed conspicuous courage and initiative', taking charge after his platoon commander became a casualty, handling the men 'under heavy fire with great skill'. He also assisted the Company Commander in reorganising their military objectives. The photograph is of social as well as historic significance for the Beechworth community, because it provides a direct link between local, national and international histories in relation to Australia' s participation in one of WWI's best-known battles. The record has strong research potential given the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day. Peach is also one of the diarists of WWI, including of this significant period of Australian military history, from 1916 to 18, which can be accessed via the Australian War Memorial. Sepia rectangular photograph printed on gloss Kodak photographic paper mounted on board. Reverse: BMM 8779 item catalogue number pencilled in right-hand bottom corner.military medal, defending australia and victoria, military service, hmat a64 demosthenes, wipers, anzac, burke museum, beechworth, ypres, australian military services, beechworth post office, first world war, wartime, our boys, belgium, flanders fields, ww1, british war medal, victory medal, broodseinde, third battle of ypres

This specimen originated from Mount Lyell on the west coast of Tasmania, where a large group of open cut and underground copper-silver-gold mines began operating in 1883. Between 1893-1994, the Mt Lyell Mining and Railway Company were responsible for operations. The Mt Lyell copper-gold mines produce some excellent crystallised specimens of chalcopyrite and other minerals. The deposits are generally considered to be of Cambrian volcanic origin, but there are indications of Devonian granitic influence on the ores, plus local remobilisation during Devonian deformation. Over 120 million tonnes of ore was produced from several workings, including the main Prince Lyell mine and the North Lyell mine, which was also of great importance. The Mount Lyell mines have a long history of human and environmental disasters, including the 1912 North Lyell fire that killed 42 miners, and two separate incidents in 2013 in which three people lost their lives. The environmental impacts from this complex of mines are extensive, with waste tailings and heavy metal contamination flowing directly into the King and Queen River catchments. In 1954, the eminent Australian historian, Geoffrey Blainey, published 'The Peaks of Lyell' which delves into the history of the 1912 North Mount Lyell Disaster.Chalcopyrite does not contain the most copper in its structure relative to other minerals, but it is the most important copper ore since it can be found in many localities and occurs in a variety of ore types. The brassy-yellow colours in Chalcopyrite mean it is often confused with pyrites and gold, leading to use of the term, "fool's gold." Chalcopyrite has been the primary ore of copper since smelting began five thousand years ago. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.This hand sized solid mineral specimen has shades of brass-yellow with spots of iridescent green-black tarnish. Chalcopyrite is a copper iron sulphide mineral and a major ore of copper common in sulphide veins and disseminated in igneous rocks. Chalcopyrite has a hardness of 3.5-4 on the Mohs Scale. It is a member of the tetragonal crystal system and has metallic lustre and opaque transparency.burke museum, beechworth, indigo shire, beechworth museum, geology, geological specimen, chalcopyrite, copper pyrites, copper mining, tasmanian geology, mount lyell, mount lyell mines, fools gold, mohs scale, crystals, minerals, historical geological collection, victorian geological survey, a.r.c selwyn, gold rush, van diemans land

Mr. Braz Borschman was born in Beechworth on the 1st of July 1914 at his parents home. He played for many years in the Towns volunteer Brass Band, a popular local band of about 30 members. Braz played the coronet and later the trombone. His first job was for the post office, but he spend most of his working life at the Beechworth Tannery. His interview contains lots of information about the tanning processes, including the story of 'Young Thomas', who lost his arm in a tannery accident. Braz recalls the open-air picture theatres of Beechworth, the many dances and balls, and distinct lack of cars. His testimony is rich with detail and filled with many other side-stories, including 'Blind Tommy', a self-sufficient, opium-smoking blind man of Chinese descent. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Braz' interview is significant for the many historical details it provides about life, work, and leisure in Beechworth, particularly in relation to the period of the depression and after, which is the context which Braz' interview focuses on. His detail about the Beechworth tannery and the many open-air picture gardens is particularly rare and insightful to any social history of Beechworth. The oral history project more broadly is significant for its capture of the lives of ordinary Beechworth residents from incredibly divergent backgrounds, which has led to a rich, nuanced and diverse range of accounts of Beechworth.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.listen to what they say, beechworth, oral history, braz borschman, brass band