TROVE : Evening News (Sydney, NSW : 1869 - 1931), Thursday 11 October 1928, page 13. NEW COMPANIES The following new companies were registered this afternoon :- Australian Essential Oils Ltd : Nominal capital. £50,000, in 93.000 ordinary and 7,000 deferred shares at 10/-. to engage in business of distillers, manufacturers of, and dealers in oils from vegetables and other sub-stances, chemists etc. First directors: N. H.B.Keynor, R.K.Allport, E.M Humphries, and H. James. Head office Sydney. TROVE : Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), Friday 26 July 1968 (No.89), page 3028 IN the matter of the Companies Act, 1961-1966, and in the matter of AUSTRALIAN ESSENTIAL OILS LTD (Receiver and Manager Appointed).—Roy Leslie Pegler, Receiver and Manager of Australian Essential Oils Ltd (Receiver and Manager Appointed)„ appointed by debenture holders on the 11 th July, 1966, hereby gives notice that any debenture holders and others having any claim against or to Australian Essential Oils Ltd (Receiver and Manager Appointed) are required to send particulars of their debenture or claim to the Receiver, Roy Leslie Pegler, at c.o. Messrs Pegler, Ellis & Co., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W., on or before the 27th September, 1968, at the expiration of which time the Receiver and Manager will distribute the assets of the said Company to the persons and/or companies entitled, having regard only to the claims of which he then has notice.—Dated 24th July, 1968. PEGLER, ELLIS & CO., Chartered Accountants, 235-7 Elizabeth Street, Sydney, N.S.W. 8744—$5 White cardboard box printed in dark green with a round blue and white sticker on one side, containing a cream paper leaflet printed in dark green, wrapped around a greaseproof paper wrapped rectangular cake of translucent brown soap with impressed text on one side.Impressed on one side of the cake of soap ' A PRODUCT OF AUSTRALIAN ESSENTIAL OILS LTD SYDNEY'. On reverse of soap impressed 'TI-TROL ANTISEPTIC TOU\ILET SOAP'. Printed on the box 'TI-TROL ANTISEPTIC AND GERMICIDAL TOILET SOAP. Printed Leaflet wrapped around cake of soap 'Germicide TI-TROL Antiseptic, Toilet Soap ELEVEN TIMES MORE POWERFUL THAN CARBOLIC. NON IRRITANT ………NON POISONOUS. “Ti –Trol” GERMICIDAL ANTISEPTIC SOAP is the most modern of all toilet soap …..Distilled and manufactured by Australian Essential Oils Ltd., the pioneers of Tea-Tree Oil Industry in Australia, and manufacturers of that famous antiseptic solution Melasol. It has taken years of patient research, of test, trial and experiment to reach the pinnacle of perfection which Ti-Trol Soap is now offering to the public. Ti-Trol is a hand-made glycerine base soap in which only the finest ingredients are used. One of its most attractive features is that it contains a full three per cent. of “Ti-trol”. In medical and clinical practice, both in Australia and abroad, Ti Trol has given remarkable results…particularly in its cleansing properties: its soothing HEALING action on dirty and inflamed septic wounds. By incorporating Ti-Trol in a glycerine base soap, experts are agreed that the result….. Ti-Trol soap is unequalled-anywhere- for its soft soothing healing and germicidal properties. Ti-Trol soap is non-irritant and non-poisonous and can be used on the tenderest skins…babies’ or the most delicate peach-bloom complexions, with most excellent results. . PRODUCT OF A SOAP MAKER OF INTERNATIONAL EXPERIENCE Australian Essential Oils Ltd., have been fortunate in procuring the services of a soap-maker of International experience and world-wide knowledge of Soap Production, whose genius has produced Ti-Trol, and whose uncanny sense of blending has made Ti-Trol the most famous of all Germicidal Toilet Soaps. Ti-Trol is non-irritant and non-poisonous and has been proved by medical and specialised authorities top\ possess great healing and cleansing properties. It is a powerful Germicide and antiseptic….ELEVEN TIMES QUICKER THAN PURE CARBOLIC. . DANDRUFF CAN’T LIVE WITH Ti-Trol. Dandruff ......that horrible “give away” which many men and women suffer from…..can easily be dispelled by using Ti-Trol Soap this way : Rub a little Olive Oil into the scalp before retiring at night, and the following morning wash your head thoroughly with Ti-Trol Soap, allowing the lather to remain on the scalp for about a minute and a half. Then rinse the hair thoroughly in warm water. .WASH BRUSHES AND COMBS WITH Ti-Trol SOAP When you’ve done this and dried your hair, wash all your brushes and combs in a strong, soapy solution made with Ti-Trol Soap, and then carefully sponge the inside of the hat bands with a flannel or cloth moistened with this soapy solution. Follow these directions and you’ll never need to fear dandruff. .Ti-Trol…WONDERFUL HEALER OF CUTS. SORES, WOUNDS, ETC. There never was a more patent healer of CUTS, SORES, WOUNDS, ABRASIONS AND SEPTIC SORES than Ti-Trol… Here’s how to use it : Wash the affected parts with a fairly strong Ti-Trol soapy solution made with warm water, and then apply with lint soaked with Melasol, which is the miscible form of Ti-Trol (Melasol is obtainable at all chemists and stores everywhere). . Ti-Trol SOAP……..A DEODORANT, A BEAUTIFIER……a safeguard for tender skins Ti-Trol Soap, because of its delicate, pungent, aroma and antiseptic properties, is unequalled as a deodorant, and is never failing when used for this purpose. Ti-Trol Soap can be used on the tenderest skins, and even baby’s skin, with greatest safety. It’s delightful fragrance will give added pleasure to your toilet. . DO NOT WASTE Ti-Trol Soap is too valuable to waste. Therefore, use it carefully. Do not leave it in the water. To obtain greatest economy it is preferable to use a face cloth when using Ti-Trol Soap. For health, for the most economical means of insuring against disease, use Ti-Trol Ointment…..for cuts, bruises etc. Ti-Trol….for boils, cuts, sores, abrasions and septic conditions. MELASOL…..for Tinea, Mouth Wash and as a Dentifice. . All are products containing Ti-Trol, distilled and provided by Australian Essential Oils Ltd. 18 Loftus Street, Sydney. N.S.W.'. tea tree oil, soap, glycerine, antisptic, germicide

Sign: "Vickers Oils are Good Oils".Green, black and white painted tin sign: "Vickers oils are good oils". Central circle with a "V" and a sheep.VICKERS OILS ARE GOOD OILSsign, oil, wool industry, rural, advertising, vickers

This calendar has been distributed as a advertising item for Earl’s agricultural machinery and oil depot. The business was situated at the corner of Lava and Kepler Streets in Warrnambool. The name, Acmino’ stood for Allis-Chalmers, Mitchell’s Implements, Neptune Oils’. Distributing calendars at Christmas time for the following year was, and still is, a popular advertising tool for businesses. This calendar is of minor interest as an example of the use made by businesses in the 1940s of calendars as advertising tools. It also has a local Warrnambool connection, the agricultural machinery business of F. Earl. This is a 1946 calendar with a buff-coloured sheet of crinkled paper with a brown border. It has a coloured photograph of two men droving cattle near a river and it ispasted on to the paper with a brown border around the photograph. The calendar for 1946 is printed on to the paper and also in monthly sheets pasted on to the paper on top of each other. The printing on the calendar is brown. On the back of the calendar is written in black ink, ‘French Bros’. The calendar has a red piece of string at the top for hanging the calendar up on a wall or cupboard. The calendar is torn at the edges and somewhat stained.‘With Compliments from the “Acmino” House, F.Earl (Prop.)Warrnambool Phone 484 Private 75’ ‘Allis-Chalmers Tractors Mitchell’s Implements Neptune Oils’ ‘Sales, Service and Satisfaction Guaranteed’ ‘French Bros’ ‘acmino’ house, warrnambool, f. earl, history of warrnambool

In 1806, William Colgate, a soap and candle maker, opened up a starch, soap and candle factory on Dutch Street in New York City under the name of "William Colgate & Company". In the 1840s, the firm began selling individual cakes of soap in uniform weights. In 1857, William Colgate died and the company was re-organized as "Colgate & Company" under the management of Samuel Colgate, his son. In 1872, Colgate introduced Cashmere Bouquet, a perfumed soap. In 1873, the firm introduced its first toothpaste, an aromatic toothpaste sold in jars. His company sold the first toothpaste in a tube, Colgate Ribbon Dental Cream (invented by the dentist Washington Sheffield), in 1896. In 1896, Colgate hired Martin Ittner and under his direction founded one of the first applied research labs.[3] By 1908 they initiated mass selling of toothpaste in tubes.In Milwaukee, Wisconsin, the B.J. Johnson Company was making a soap entirely of palm oil and olive oil, the formula of which was developed by B.J. Johnson in 1898. The soap was popular enough to rename their company after it - "Palmolive". Around the start of the 20th century Palmolive, which contained both palm and olive oils, was the world's best-selling soap. ). A Missouri-based soap manufacturer known as Peet Brothers merged with Palmolive to become Palmolive-Peet. In 1928, Palmolive-Peet bought the Colgate Company to create the Colgate-Palmolive-Peet Company. In 1953 "Peet" was dropped from the title, leaving only "Colgate-Palmolive Company", the current name.A metal cylinder with a screw top for a 'Colgate' shaving stick. Until the early 20th century, bars or sticks of hard shaving soap were used. Later, tubes containing compounds of oils and soft soap were sold. Newer creams introduced in the 1940s neither produced lather nor required brushes, often referred to as brushless creams.Soaps are used by wetting a shaving brush, which is made out of either boar hair or badger hair, and swirling the brush on the soap, then painting the face with the brush. Brushless creams do not produce a lather, thereby removing its ability to protect the skin against cuts.Cylinder : COLGATE & CO. / SHAVING / STICK / NEW YORK / USA Lid: C&Ccolgate company, colgate-palmolive pty ltd, morabin, bentleigh, cheltenham, razors, cut-throat razors, safety razors, early settlers, soap, shaving cream, toothpaste

Stanton Bowman was a Ballarat artist who painted many large portraits of the city's dignitaries and mayors. Bishop Michael O'Connor was the first Catholic Bishop of Ballarat and this portrait was painted from a photographic studio image after the bishop's death.Signed and dated T. Stanton Bowman 1906.

stawell

This painting was created by Robert Dowling (1827-1886) in 1885. At this time Dowling was considered Australia's best portraitist. Dowling had been born in England, but migrated to Van Diemen's Land in the early 1830s with his parents. Dowling worked in both Tasmania and Victoria as an artist, before returning to England in 1857. He did not return to Australia until 1884 and received eighteen commissions for portraits. The Barry portrait was commissioned after Barry's death which explains some of the mistakes in the depiction of Barry's robes; the fur cuffs and collar are too large, and the cummerbund is sitting in the wrong place. Sir Redmond Barry is an important figure in Colonial Victorian History, responsible for the establishment and support of some of our finest cultural institutions (the University of Melbourne, the State Library of Victoria, the Supreme Court Library, and aspects of the Museum of Victoria's collection). This is in addition to his role as barrister defending aborigines in the 1840s and his position as a foundation judge of the Supreme Court of Victoria, a position he held for nearly 30 years, presiding over two of the most well known of colonial trials: the Eureka Trials in 1854 and the Kelly trial in 1880.The portrait of Sir Redmond Barry is significant because of the historical importance of Redmond Barry in colonial Victorian history. The painting is also of aesthetic significance as the work of the distinguished portraitist Robert Dowling. Portrait in oils of Sir Redmond Barry. Barry is depicted standing, dressed in red Judicial robes, his hand resting on a chair; behind is a table with books.Signed and dated 1886 (lower left) by Robert Dowling.redmond barry, portraits, judges, robert dowling

The portrait was commissioned in 1884, near the end of Stawell's term of office. The portrait was commissioned at the same time as those of Redmond Barry and Justice Molesworth. The total cost of all three paintings was 1200 pounds. Sir William Stawell arrived in Victoria in 1842; he quickly established a reputation for himself at the Bar. After the separation of the Port Phillip colony from New South Wales, Sir William served as the attorney general in the first representative government and was the leading prosecutor in the Eureka trials. Sir William was appointed as Chief Justice of the Supreme Court in 1857, serving 29 years in the post. In addition the township of Stawell was named after the recently appointed Chief Justice in 1858. The portrait is of historical significance as a portrait of Sir William Stawell.Full length portrait in oils of Sir William Stawell. Stawell is seated and dressed in his judicial robes. Signed and dated 1887 lower right hand corner of the painting. Plaque identifying subject. The Hon. Sir W.F. Stawell.K.C.M.C Chief Justice of the Supreme Court 1857-1886judges, william stawell

The portrait was commissioned after Higinbotham's death in 1893. A committee was appointed to investigate the making of a portrait and they appointed Mr L Bernard Hall, instructor and later director of the National Gallery of Victoria. George Higinbotham (1826-1892) had a distinguished career as a newspaper editor and politican before becoming a Judge of the Supreme Court in 1880 and the third Chief Justice in 1886. Higinbotham was a long serving attorney-general in the 1860s colonial administration. Higinbotham was active in the education, land and constitutional debates of his time. He played a prominent role through his chairmanship of the of the Royal Commission into Public Instruction with regard to the introduction of the free and secular primary school education.The portrait of George Higinbotham is of historic significance as the depiction of an important public figure in 19th Century Victoria. The painting is also of interest as an early example of L Bernard Hall's Australian works. Portrait in Oils of George Higinbotham. Higinbotham is seated at his desk, pen in hand. He is dressed in his judicial robes, ready for Court.Signed Lower right B Hall 95. Plaque on frame : The Hon. George Higinbotham Judge of the Supreme Court 1880-1886 Chief Justice of the Supreme Court 1866-1892supreme court, higinbotham george, hall bernard

The portrait was commissioned in 1884, near the end of Molesworth's term of office. The portrait was commissioned at the same time as those of Redmond Barry and Chief Justice Stawell. Robert Molesworth, like his contemporaries, Stawell and Barry, went to Trinity College, Dublin, and practiced at the Irish Bar before migrating to Australia in 1852. Molesworth quickly gained a large practice at the Bar. In 1853 he was acting Chief Justice and he later served as Solicitor-General in the early Victorian colonial administrations. Molesworth was appointed to the bench in 1856. He primarily worked in the Equity area, but his main contribution to Colonial administration was as the Chief Judge of the Court of Mines, establishing the basis of mining law in Australia.The portrait of Molesworth is significant because of whom it portrays and is the only known portrait of Molesworth.Full length portrait in oils of Sir Robert Molesworth. He is seated at a desk and dressed in Judicial robes. The frame is of 20th century originSigned with monogram and dated 1885 lower left. Plaque identifies sitter as The Hon. Sir Robert Molesworth Judge of the Supreme Court. 1856-1886courts, molesworth robert, a beckett edward

Sir Edmund Herring had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming King's Counsel in 1936, he continued his military associations through Australian Militia Forces, rising to colonel by the start of the Second World War. At the outset of WWII Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria, a position he held from 1945 to 1972. Herring was also an outspoken social critic; between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund; his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times. His fame as a portrait painter was not without controversy, as he was considered ‘safe’ and the favourite of conservative sitters, particularly as many of his Archibald winners were of ‘Captains of Industry’. While no Archibald prize was awarded for this portrait, it is an interesting counterpoint to Dargie’s 1944/45 portrait. The portrait of Sir Edmund Herring is significant because of whom it portrays and the artist William Dargie who painted it.Portait in oils of Sir Edmund Herring. This is a half portrait of Sir Edmund in his red judicial robes. Gold leaf frame, with plaque.Plaque reads "The Honourable Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court 1944-1964"edmund herring, william dargie

This painting was presented to the library in December 1930. The painting had been paid for through subscription from Judges of the High Court, the Supreme Court and the County Court as well as both branches of the legal profession. An almost identical portrait is held by both the Melbourne Cricket Club and the National Gallery of Victoria. This portrait is of interest for its subject and artist. Sir Leo Cussen (1859-1933) is probably best known for his role in two consolidations of the Victorian Statute books in 1915 and the mid 1920s. These were immense undertakings and included determining the application of English Law in Victoria. Sir Leo was appointed at Surpem Court Judge in 1906, he was at various times Acting Chief Justice of the Supreme Court of Victoria. In addition, he was trustee of both the Art Gallery (NGV) and the Melbourne Cricket Club, and held various positions with the Melbourne University Law Faculty and the Council of Legal Education. Sir Leo was regarded as one of the finest legal minds of his generation and at his death, Robert Menzies, at this time the Attorney General, said that Sir Leo was "one of the great lawyers of the english speaking world". Sir John Longstaff was one of Australia's best known and well regarded portraitist in the early 20th Century, he won the Archibald prize five times (1925, 1928, 1929, 1931 and 1935).3/4 Lenght portrait in Oils of Sir Leo Cussen, a judge of the Supreme Court, 1906-1933. Cusen is seated, a desk to the right of the picture with a few books. Sir Leo is in a 3 piece suit, his watch chain visible. Gold FrameSigned Longstaff in upper left corner. Plaque stating "the Hon Sir Leo Finn Bernard Cussen Kt Judge of the Supreme Court 1906-1933judges, cussen, longstaff

This is a portrait of Sir William Irvine, not in his judical robes, but those of Lt Governor of the State of Victoria. Irvine was a member of the Victorian Legislative Assembly from 1894 to 1904, as well as Attorney-General , he was later Premier. Retiring from state politics after a particularly bruising encounter with the Railway Unions, he entered federal politics as the member for Flinders. He became Federal Attorney General in the period 1913-1914. During World War One Irvine campaigned strongly for the introduction of the complusory military service (conscription) until being elevated to the bench in 1918. With his appointment as Chief Justice, he became a lieutenant governor in 1919, and was acting Governor for the state of Victoria for a period of nearly 3 years in the early 1930s. The painting is of interest for its subject (Irvine) and the artist who painted it, 5 times Archibald winner Sir John Longstaff.3/4 length portrait in oils of Sir William Irvine. Irvine is standing his finger resting on the deak. He is in Vice-Regal clothing, a black suit with plenty of gold braid.Signed and dated 1934 upper right cornerirvine william, longstaff john

The portrait was presented by the legal profession ot the Court in 1946. It would appear to have been commissioned at the time of Chief Justice Mann's retirement. Charles Wheeler, had won the Archibald prize in 1933 and was the head of the art gallery schools during World War two. Chief Justice Sir Frederick Mann (1869-1958) studied the law and worked at the Crown Law Department before his stint in the Army during the Boer War. After the war, he practised as a barrister, mainly working in the common law and equity area including appearences in the High Court on constitutional matters. He was appointed to the bench in 1919 along with William Schutt, to help remedy a shortfall in the number of judges on the Bench, after measures of economy during World War One. He became Chief Justice in 1935 following the retirement of Sir William Irvine, and retired in 1944.The portrait is of interest because of whom it portrayed, it is a well executed work by a well known artist of the period.Half Length portriat painting in oils of Sir Frederick Mann, seated and balancing a book on his knee. He sits of a chair with carved arms. The frame is painted dull gold.Signed upper left C. Wheeler. Plaque identifies Sir Frederick Mann, the Hon. Sir Frederick Wollaston Mann, KCMG, a Justice of the Supreme Court 1919-1935, Chief Justice 1935-1944

The Argus reports that “In 1916 the members of the bar took the opportunity afforded by his [a’Beckett’s] 80th birthday, and the completion of 30 years on the bench to present to the judges of the Supreme Court, with his permission a portrait of himself, to be placed in line with portraits of other judges in the Supreme Court library. The portrait which depicts Sir Thomas a’Beckett in his robes, was an excellent piece of work of Mr Max Meldrum. The unveiling was made the occasion of a little demonstration at which some congratulatory speeches were made." Sir Thomas a'Beckett arrive in Melbourne as a teenager with his parents in 1851. His uncle was the former Chief Justice, his father a well known solicitor. At the Bar Sir Thomas mainly worked in the Equity jurisdiction, which he took as a specialisation with him to the bench. This is an early work of Meldrum, he won the Archibald prize for portraiture in 1939 and 1940.The portrait is of interest for whom it portrays and as the early work of a well known artist.A full length portrait in oils of Justice Sir Thomas a'Beckett. Sir Thomas is seated, his feet placed on a plush red foot stool. He is dressed in his red judicial robes with white fur trimming and black trousers and a full bottomed wing. Justice a’Beckett has a white beard and moustache, he was 80 years of age when this portrait was painted. In his hand he holds a rolled document. At his elbow, there are books upon a table. He sits in a fine carved wood and leather chair, in the background a gold frame is just visible. A line in the canvas indicates that the size of the painting was expanded. The frame is gold with a gum leaf motif.Max Meldrum 1916a beckett, max meldrum, judge

This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian

The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. Sir Edmund Herring (1892-1982), had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming Kings Counsel in 1936, he continued his military associations through the Australian Militia forces rising to colonel by the start of the Second World War. At the outset of World War Two Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. It was at this time that Herring confirmed the death sentences of 22 Papuans who had been found guilty of murder and treason. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria a position he held from 1945 to 1972. Herring was also an outspoken social critic, between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund, his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times.Portrait in oils of Sir Edmund Herring, Chief Justice of the Supreme Court of Victoria (1944-1964). Sir Edmund is seated, this is a half portrait, dressed in his red judicial robes. The sitter takes up most of the frame and there is very little extra information in the picture. signed lower left "Dargie'. Plaque with the following details : Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court, 1944-1964.judges, herring

1. String pull through - it is made of a 3 part cord. One cord has a metal tube, the other end has a loop. 35cm from the loop end is another loop (it still retains a bit of oily cleaning cloth when last used.) One of the three cords has snapped. 2. Same sort of pull through as above. - still rolled up tightly. 3. Wire bristle brush for barrel cleaning. It has a brass end for screwing to a rod. The bristles are two diameters. A lot of fluff is caught up in the small bristles.rifle cleaning equipment, vietnam war

The first issue of the school magazine The Minervan Nov 1913 records the unveiling of the portrait. See file attached. William Henderson served as the school's first President for many years. Artist James Swinton Diston (1857 - 1940) created the portrait for the family in 1900. It was gifted to the school at an unveiling ceremony held 19 August 1913. The portrait was displayed in the school for many years before being transferred to St Andrews Kirk. It was located in a shed at St Andrews around 1990 and returned to the College per favour of old collegian Clark Chester, former Captain of Henderson House. Ornate gold framed portrait in oils.william-henderson, clark-chester, henderson-house, ballarat-college, st-andrews-kirk

WARRNAMBOOL MECHANICS’ INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in November1884 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year Joseph Archibald established a Museum; however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established, and in 1885 a new building was built at the back of the Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished)). In 1911 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until the contents of the Museum and Art Gallery were removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library, ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. The Warrnambool Mechanics' Institute Library book collection is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. A Research on The Eucalypts especially in regard to their Essential Oils Technical Education Series No. 13 Author: Richard T Baker Publisher: Government Printer Sydney Date: 1902Label on spine cover with typed text RA 583.4 BAK Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Library Fly paper has a stamp from Warrnambool Public Museumwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, a research on the eucalypts, richard t baker

Three of a collection of photographs purchased from Photo First, Thompson Avenue, Cowes, when it closed in June, 2014.Three Black & White & Sepia photograph enlargements of Motorcycle Grand Prix racing on the road circuit on Phillip Island. 335-12 - The Start of the race. 335-13 - The Start of the race with a crowd watching. 335-14 - A crowed gathered around for the presentation after the Motorcycle Grand Prix, showing resultson the Scoreboard of Victoria Motor Cycle Club and the winner being carried on peoples' shoulders. Advertisement for Shell Motor Oils on the board.motor cycle racing, grand prix road circuit phillip island, photo first phillip island

Exhibition, CEMA 1991.View of beach with crumpets in foreground and hills and cliffs in background. Scene sweeps up to the right of image. Sea is breaking over several boulders along shoreline. Far out to sea the water's colour is dark green and indigo, arond a rocky island. Sky is pale blue with violet clouds near horizon line and white wispy clouds above. Mounted in a double matt (white on violet) and framed under glass in decorative wooden frame with gold decoration and paint.Front: (no inscriptions) Back: Alan Wilson. "Crumpets". Hollands framing sticker (lower centre). Oils-on canvas on ply. 1991. (lower right) (pen) 1991 (lower centre) (pencil).

Black and white photo of two men shaking hands. One is holding a cheque. Cardboard addition on back with information: Mr E. Betts, president of the Ararat Rotary 197 presenting cheque for $200 to Mr R.A. Blachford, president of Ararat and District Historical Society. Money to be used for mural paintings in oils by Ararat artist Mr Stan Kelly.

These books were provided free of charge to pupils thanks to the support of the advertisers. The front pages which possibly contained student's work have been torn from the book and the following pages contain lists of names, times and dates . The entries relate to work at places such as E A Wright, Infectious diseases hospital, Ray Barnes as well as many names of local people and areas. Most appear to be associated with electrical work.A link to the district containing names of local people and the cover provides an interesting snapshot of businesses around the district in the 1940's.Green card cover with exercise book inside.There are advertisements for businesses on the outside and inside front cover.Some are local businesses and others relate to businesses further afield. In the top RH corner "Homework Exercise Book" is printed.John M Reid is handwritten at top of front cover.Advertisements included are for the following businesses: J C Williams & Co Port Fairy, Vic Becker clothing Warrnambool, X-L Motor oils, A J Oakes Port Fairy, John Newton Port FairyAlex J King Port Fairy Mrs A V Smith Koroit, R S Corson Koroit , W F Brebner Warrnambool,W J Gee Koroit,Vacuum Oil Company, SPC canned fruits Shepparton.warrnambool, john m reid warrnambool, port fairy, koroit and district state schools, homework exercise book