Memorandum, typed foolscap, 4 sheets, titled "Notes on Rolling Stock Maintenance Practice", undated, late 1930's? looking at MMTB Workshop and depot maintenance practices, for tramcars. Gives details of the shifts, cleaning, motor inspections, grinding, the use of a single truck breakdown tram, grinding of wheels at depots, annual mileages, defect rate, use of roller bearings on armatures, painting of trams, gear shield grease and varnishing or lacquering of seats and interiors,trams, tramways, tramcar components, brakes, depots, workshops, maintenance, motors, rolling stock, bearings, paint

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills needed by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream flannel sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), darned patches, inserted patches, pleats, buttonholes, buttons, a gusset, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L.L. / ?? Yr 1897flagstaff hill maritime museum and village, great ocean road, warrnambool, sewing, plain sewing, sewing sampler, plain sewing sampler, darning sampler, hand sewing, textiles, susan henry oam, vedmore foundation, sewing techniques

Collection re Frederick Simons. Refer to Cat No 10159. This book has personal training notes for working on; Merlin Engines, Bristol Hercules Engines, Workshop practices, Engine components. This is a plain exercise book, Govt issue, quarto size, khaki cover. Inside are ruled pages. On those pages of hand written notes, in pencil, on Aero engine repairs and operating principles. There are also pages devoted to workshop practices.On front cover is a label with the following; "994 PARK A.G." Name - "L.A.C. SIMONS MUSTERING C/O" Unit - illegible, "Subject - Workshop" On the LHS - stamp size label = "41707 LAC SIMONS F."book, training notes, aircraft maintenance

This box contains maintenance equipment for a Remington typewriter. The Remington company was founded in U.S.A. and it produced the world’s first typewriter for commercial use in 1873. In 1886 the Remington family business was sold but the name was retained and typewriters with the Remington Rand brand name were sold from 1927 on. Typewriters have now been replaced by computers. This box of equipment belonged to Dr Horace Holmes who would have used a typewriter in his medical practice in Warrnambool in the first half of the 20th century and perhaps would also have used a typewriter in the activities of the many community groups with which he was associated. Horace Iles Holmes (1877-1959) was born and educated in Tasmania and he completed a medical degree at the University of Melbourne. He commenced a practice in Warrnambool in 1906 and was the honorary Medical Officer at the Warrnambool Hospital and Warrnambool’s Health Officer. His practice was at ‘Ierne’ at the corner of Spence and Kepler Streets. He was an early member of the Royal Australian College of Surgeons and was prominent in community affairs (foundation President of Warrnambool Rotary Club, a member of the Warrnambool Masonic Lodge for over 50 years, a Warrnambool Hospital Committee member, a long-term Trustee of the Warrnambool Methodist Church and President of the Lyndoch Hostel for the Aged Committee. Dr Holmes also had agricultural interests and enjoyed fishing, bowls and golf. This box of typewriter equipment is of interest as an item in the collection of Horace Iles Holmes, a doctor who was prominently associated with the professional and community life of Warrnambool for over 50 years. This is a rectangular-shaped black cardboard box with a detachable lid. The box contains eight items used for typewriter maintenance. They are a glass bottle containing typewriter oil, a round metal oil dispenser, a small metal hook, a small metal spanner, a metal wire brush, and three bristle brushes, one with a bone handle and one with a wooden handle enclosed in cellophane. The box is somewhat stained inside. On a brush: ‘Made in U.S.A. bristle’ On the glass bottle: ‘Specially refined typewriter oil, Chartres Pty Ltd 375 Collins St. Melbourne Australian Built Remington Typewriters Phone 9100 (8 lines)’ typewriters, remington, dr horace holmes, warrnambool, history of warrnambool, office equipment

This document presents the findings of a hazardous material survey conducted at the Fortuna Facility in Bendigo in August 1996. The Survey Objective was to Assess the presence, location, type, and condition of hazardous materials—specifically asbestos-containing materials, synthetic mineral fibre products, and polychlorinated biphenyls (PCBs)—and provide recommendations to minimize health and safety risks. Buildings 8, 10, 16, 16A, 16B, and 18, including associated structures, were examined. Asbestos-Containing Materials: Located in cement sheet, moulded cement vents, vinyl floor tiles, fibrous board, and electrical switchboards. Generally present a negligible or low exposure risk if left undisturbed. Removal is only recommended if maintenance, refurbishment, or demolition will disturb these materials. Fibrous asbestos board in the south ceiling space of Building 16 should be removed as soon as practicable.S ynthetic Mineral Fibre Products: Found in pipe, duct, and ceiling insulation. Pose negligible exposure risk under normal occupancy. Any work involving these fibres should comply with the National Standard and Code of Practice for Safe Use of Synthetic Mineral Fibre (1990). Older fluorescent light fittings and electrical transformers may contain PCBs. PCBs are hazardous due to their chemical properties and potential health risks. Recommendations Asbestos: Remove only if disturbance is likely, except for the specific board in Building 16, which should be removed promptly. Follow national safety standards during any work that may disturb these materials. PCBs: Be aware of potential presence in older electrical equipment and manage accordingly. The survey was conducted in accordance with Victorian Occupational Health and Safety (Asbestos) Regulations 1992. The document also includes appendices with general information and analytical results related to asbestos and synthetic mineral fibres.Hazardous Material Survey Fortuna Facility Bendigo, work performed for Carson Group Pty Ltd by Kilpatrick and Associates Pty Ltd, Occupational Hygeine and Ergonomics Consultants, 239 Bay Street, Brighton, 3186 This Document Contains the following Items: 11231.3b This document presents the findings of a hazardous material survey conducted at the Fortuna Facility in Bendigo in August 1996. The first four pages are copied here. 11231.3a Front Cover The document is coloured, bound with "Spiralex" and type-written. It contains 25 pages. bendigo, fortuna villa, history, army survey regiment

'Fortuna' was developed by George Lansell, the 'Quartz King', from the 1870s to 1906. The estate features a mansion, a notable Italian water garden with imported elements, and a large lake originally used for mining. The property covers 6.7 hectares and contains many mature trees, including palms, poplars, pepper trees, Norfolk Island pines, and various specimen trees. Since 1942 to the 1980s, the Department of Defence has owned and maintained the property. General Considerations are to: 1 Preserve and restore the heritage value and history of the gardens to complement historic buildings. Maintain plant health and species diversity to enhance the area's character. 2 Address financial constraints, human use, military requirements, and stakeholder engagement. 3 Employ qualified experts to prepare the plan. 4 Address historical significance, plant health, heritage value, remedial works, and visual character (including maintaining views and screening modern structures). 5 Restore garden design to its original character where possible. 6 Recommend measures for future works to protect garden health and significant trees. 7 Identify and map significant plants and recommend suitable species for replanting. Consultant to start in September 1994 and complete by December 1994 with Regular meetings with a steering committee and encourage public involvement. The plan aims to ensure the long-term preservation, enhancement, and appropriate use of the heritage gardens, balancing historical, ecological, recreational, and military needs. In 1996 Fancine Gilfedder and Associates produced the Garden Conservation Management Plan for the Department of Defence: This Conservation Management Plan for the historic Fortuna Bendigo Garden outlines its historical development, significance, and strategies for preservation and management. 1. The plan was commissioned by the Department of Defence and prepared by Francine Gilfedder & Associates in 1996. It covers the Fortuna Garden site, its heritage status, and the methodology used for assessment. 2. Historical OverviewProvides a detailed chronology of the garden's development and its phases. Identifies significant materials, features, and architectural elements. 3. Site AssessmentSurveys existing site conditions, including plant and tree inventories.Documents architectural features and general landscape conditions. 4. Assesses the garden's heritage value using established criteria (e.g., Burra Charter, AHC criteria). Identifies elements of significance and provides comparative analysis with similar sites. 5. Summarizes the heritage value and unique aspects of the Fortuna Garden. 6. Outlines statutory and non-statutory requirements, user needs, and physical constraints affecting management. 7. Recommends general and component-specific policies for conservation. 8. Implementation Provides guidelines and specific recommendations for development and ongoing management. 9. Details best practices for tree, shrub, rose, and lawn care, as well as maintenance of paths and structures.Fortuna Villa Conservation Management Plans This Document Contains the following Items: 11231.4a This document is a draft brief by the army, 1994. It outlines the brief for a conservation management plan for the heritage gardens and surrounds of Fortuna Villa in Bendigo. It's three pages outlines Purpose, Background History and General Considerations, requirements and a summary. Seven first pages reproduced here. 11231.4b This Conservation Management Plan for the historic Fortuna Bendigo Garden outlines its historical development, significance, and strategies for preservation and management. Black Fabric Binding of approximately 110 pages (printed on both sides), photocopy with photos and plans. The first four pages showing the cover and index are shown here. 11231.4c Undated. This document is a horticultural report providing suggestions for improving the grounds and gardens at 'Fortuna', a historic estate now used by the Army Survey Regiment in Bendigo. The black and white report of approx 100 pages is "Spiralex" bound. It contains - it is compiled for the army by Karl Liffman (TAFE horticulture department) and Ian Huxley (experienced horticulturist and garden designer), with input from gardening apprentices. It contains many photos with new suggestions overlyared on top of them. The report addresses only the grounds and gardens visible to visitors: main drive, car parks, front garden, and areas around the lake. Recommendations are from a horticultural perspective, emphasizing plant variety and practical maintenance over formal landscape architecture.PurposeAims to guide the Army in developing and maintaining Fortuna’s gardens, recognizing the property's heritage and its value for public relations. 11231.4d An unbound copy of the above 11231.4e A letter to Range Control, Department of Defence, Puckapunyal, from Francine Gilfedder and Associates, Landscape Architect and Horticulturist, 15 Dover St Richmond; and a 18 page management plan. The plan aims to guide the conservation and management of the Fortuna Villa gardens, focusing on heritage values and preservation needs. May 1995. 11231.4f March 1996 five page document which outlines a conservation and restoration proposal for the Pompeii Fountain and adjacent heritage structures at Fortuna, Golden Square, Victoria. The fountain's steel column was severely rusted; rendered surfaces and marble font were deteriorating; adjacent garden walls and staircases were failing. 11231.4g Copy of above 11231.4h A five page document which contains key points from the conservation and restoration plan for Fortuna Villa. 1990s. 11231.4i A 30 page document. Part of the conservation policy and management plan for the Fortuna estate: 11231.4j A six page document is a conservation management plan and tree health report for Fortuna Villa in Bendigo, focusing on diagnosing tree diseases, assessing tree conditions, and recommending removal or treatment actions. Prepared by Francine Gilfedder and Associates, Landscape Architect and Horticulturist, 15 Dover St Richmond for the army. 11231.4k The one page document is a tree inspection report for a Sierra Redwood at Fortuna Villa, Bendigo, prepared in response to concerns about the tree's stability after the removal of a nearby specimen. Prepared by Trevor Lawrence Tree Surgeon, 830 Barkley St Ballarat. July 1995 11231.4l A 15 page document which provides an interpretive plan and historical overview for Fortuna Villa, a heritage site in Bendigo, focusing on its history, significance, and strategies for visitor engagement. 1995 prepared by Dianne Bish, Eaglehawk 11231.4m A large army plan of the Fortuna Grounds with prominent trees marked.bendigo, fortuna villa, history, army survey regiment, gardens, conservation management

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Currently, over 16,000 Indigenous students and 13,000 non-Indigenous students located in 260 Australian schools are involved in an Indigenous language program. More than 80 different Indigenous languages are taught. This project sought to present practice which would strengthen the quality of Indigenous language programs in schools. The report consists of a literature review, a mapping exercise to document current practices relating to Indigenous languages in Australian schools, an analysis of existing models of teacher preparation, and six case studies of good practice examples.colour illustrations, tables, word listseducation, curriculum development, language revival, language maintenance programs

Document retyped from possibly an SECV training document titled "Safety First" outlining tram driving safety practices, awareness for motormen, electrical aspects, tram circuits, line breakers, insulated trams, trolley poles, light bulbs, broken trolley wires and fallen wires around trams. Section 2 - "instructions to be Observed by members and workers working on track maintenance". Possibly prepared for use by the BTPS, c1974.Demonstrates a Safety document for use by tramway crews and workers.Document - typed 6 Quarto pages - original.tramways, tramcars, operations, passenger services, ballarat, training

Yields information about the servicing of the trams and SEC maintenance practices. Has a strong association with Wayne Kell.Letter, 3 A4 pages + print of original letter from the Museum to Wayne Kell. Wayne provided further information on the meeting notes. Includes notes on the Painters and Carpenters, parking of trams, tram fleet and brake adjustments, servicing of trams, Depot staff, including Stan Lakey and Dan Irvin, Bill Trussler, payment of wages, Vin Dalton, relationship with SEC Management, union relationships and closure.trams, tramways, personnel, reunions, closure, sec, operations, payroll, tramcar brakes

Contains lists of work carried out on each SEC tramcar from the time of acquisition in Ballarat to 1970, though records for trams 29, 30, and 41 are missing. To be read in conjunction with the tramcar record cards and Wal Jack notes - see item 5507 and the BTM record sheets. Contains the following tramcars and their related item numbers: 9136 - tram 11 9137 - tram 12 9138 - tram 13 9139 - tram 14 9140 - tram 16 (tram 15 was renumbered as tram 36) 9141 - tram 17 9142 - tram 18 9143 - tram 19 9144 - tram 20 9145 - tram 21 9146 - tram 23 (tram 22 was renumbered as tram 37) 9147 - tram 24 9148 - tram 25 9149 - tram 26 9150 - tram 27 9151 - tram 28 9152 - tram 31 (trams 29 and 30 sheets are missing) 9153 - tram 32 9154 - tram 33 9155 - tram 34 9156 - tram 35 9157 - tram 36 9158 - tram 37 (there were two trams that carried this number, both on the same sheet) 9159 - tram 38 9160 - tram 39 9161 - tram 40 9162 - tram 42 (tram 41 sheet is missing) 9163 - tram 43 Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Folder, Firmfast springback file folder, heavy card covers, pseudo leather printed.Has manufactures lable on the inside of the cover.tramways, tramcars, ballarat, sec, tramcar maintenance, records

Lists the work carried out by the SEC on tram No. 11. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 11

Lists the work carried out by the SEC on tram No. 12. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 12

Lists the work carried out by the SEC on tram No. 13. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 13

Lists the work carried out by the SEC on tram No. 14. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 14

Lists the work carried out by the SEC on tram No. 16. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed. Details the sale of the body in 1956Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 16

Lists the work carried out by the SEC on tram No. 17. Includes notes on the tram itself, body, brake gear, electrical, and truck. Generally, only significant work is listed. Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 17

Lists the work carried out by the SEC on tram No. 18. Includes notes on the tram itself, body, brake gear, electrical, and truck. Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 18

Lists the work carried out by the SEC on tram No. 19. Includes notes on the tram itself, body, brake gear, electrical, and truck. The tram was transferred to Bendigo during 1960 along with Number 25.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 19

Lists the work carried out by the SEC on tram No. 20. Includes notes on the tram itself, body, brake gear, electrical, and truck. The tram was demolished in an accident in Victoria St during September 1970.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 20

Lists the work carried out by the SEC on tram No. 21. Includes notes on the tram itself, body, brake gear, electrical, and truck. Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 21

Lists the work carried out by the SEC on tram No. 23. Includes notes on the tram itself, body, brake gear, electrical, and truck. Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 23

Lists the work carried out by the SEC on tram No. 24. Includes notes on the tram itself, body, brake gear, electrical, and truck. The tram was effectively written off in 1954 after running away and entering the Bucks Head Hotel - body sold in 1957.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 24

Lists the work carried out by the SEC on tram No. 25. Includes notes on the tram itself, body, brake gear, electrical, and truck. The tram was transferred to Bendigo during 1960 along with Number 19.Demonstrates the SECV practice of maintaining records for the work on the tramcars in Ballarat.Foolscap ruled sheet with stamp tram car number and work category, typed or handwritten entries.tramways, tramcars, ballarat, sec, tramcar maintenance, records, tram 25