This model is used as an educational or reference tool for guiding acupuncturists in their work.White rubber human model, with acupuncture points annotated across the model. Stored in lidded in a brown cardboard box with a decorated envelope which presumably held acupuncture needles.acupuncture, reference model, educational model

An insect pump used to kill household pests such as flies, mosquitoes, silverfish and fleas. An advertisement in the Australian Women's weekly from January 26, 1946 references this particular model as an improvement on the previous pre-war model, as it now contained "the correct amount of DDT". DDT was banned in Australia in 1987. This type of insect sprayer was in common use in Australian households in the mid-20th century.Insect sprayer- consisting of a pump with a cylindrical tank attached and a handle made of woodOn pump: ''SHELL / TOX / Death / to / every pest / A SHELL PRODUCT / MADE IN AUSTRALIA'' On both ends of tank: ''SHELL TOX / Death to every pest''insect sprayer, fumigator

This document by Beverley Carter, (Lansell family historian) explores the future potential of Fortuna Villa in Bendigo, emphasizing its significance for community, tourism, and economic development. The Defence Department has vacated Fortuna Villa after more than 60 years. There is an opportunity for public ownership, with state or local government having first refusal, ensuring community access. Fortuna Villa could become a major asset for Bendigo, enhancing its profile and supporting economic growth. Cultural tourism is highlighted as a rapidly growing sector, with visitors who stay longer and spend more. The success of recent cultural events in Bendigo, such as the Golden Age of Couture exhibition, demonstrates the city's capacity to attract international attention. The Villa Fortuna Action Group proposes transforming the site into a hub for cultural, commercial, and community activities. Suggested uses include concerts, festivals, exhibitions, heritage tours, retail outlets, community meetings, conferences, weddings, and fine dining. The document references successful models like Abbotsford Convent and Werribee Mansion in Victoria, and Hylands House in the UK, as examples of adaptive reuse. While acknowledging significant short-term costs, the document argues that long-term financial and social benefits outweigh these concerns. The project is seen as a way to diversify the local economy, create jobs, and foster business partnerships.The author rejects the notion that tough economic times should prevent investment, suggesting such projects can help mitigate downturns. Fortuna Villa is presented as a once-in-a-lifetime chance for Bendigo to secure a property that symbolizes the city's golden past. The author stresses the importance of a comprehensive, coordinated approach to tourism in the region, with Fortuna Villa as a potential centerpiece.Urgency: There is a strong call to action, suggesting that the community must act quickly to secure the property before it is lost to others. The document is authored by Beverley Carter, a member of the Lansell family, who is writing a detailed family history and a series on George Lansell and Fortuna Villa, further underlining the site's historical importance.Fortuna Articles - "A Vision for Fortuna Villa" Feb 20 2009 The Bendigo Advertiser by Beverley Carter, photo by Julian Prowd This item contains the following: 11217.36a Colour Photo of Fortuna 11217.36b Part of Page 14 - "A Vision for Fortuna Villa" 11217.36c Part of Page 14 - "A Vision for Fortuna Villa"non-fictionbendigo, fortuna, george lansell, villa fortuna action group, beverley carter

From title page - "British Enfield Rifles/ 2nd Edition, Revised/ Volume 4/ Pattern 1914 and / US Model of 1917".Soft cover book Cover - cardboard, black, blue and red colour print on front, spine and back. Illustrated - front, colour photograph of firearms, with background, red, white and blue flags. 155 pages, cut, plain, white colour paper. Illustrated - black and white photographs and diagrams.publication, books, british enfield rifles, reference book

Gippsland Heritage Journal is a journal, produced about every nine - twelve months, for those interested in regional, local and family history in Gippsland, Victoria, Australia. It is compiled by Meredith Fletcher, Debbie Squires and Linda Barraclough and includes a diverse range of articles, both academic and non-academic. Since No.24 it has been a partially refereed journal. This copy was used in the library of Orbost Secondary College. This item is a useful reference tool on the history of Gippsland.A 64 pp magazine, titled Gippsland Heritage Journal No 9 (December 1990). It cost $6.00. The front cover ismauve with a b/w photograph of a model T ford at Arnott's Bluff on the Licola Road near Burgoyne's Gap. The magazine contains photographs, articles on the history of Gippsland.book-gippsland-heritage-journal gippsland-history

Bubble Sextant model Mark 1XA type A.M. 6B/218 in protective storage box. Complete, with operation instructions. This is an aviation navigation instrument used by the RAF and RAAF during the World War 2 era. A sextant is used to measure the altitude of celestial bodies above a horizontal line of reference. A navigator can use the horizon as this line of reference, but when an aircraft is above the clouds or flying at night, the navigator can’t see the horizon. The bubble sextant solves this problem by providing an artificial horizon.The storage case has a label with the following: "A.M. 6B/218 MK IX A" and the number "10772/42 (V)"

ill (b/w), p.284.non-fictionA valuable source of reference for enthusiasts and modellers alike.airplanes markings, great britain - royal air force

This model was found in the collection of Bay Steamers Maritime Museum. It is not knowt who created it but it is supposed that it was constructed to educate the many masters of the Wattle in the operation of a steam engine - a not so common mode of power these days. A Bay Steamers Maritime Museum examined the model in March 2012 and discovered that is was in poor repair. Using his existing knowledge, and with reference to some historic texts, he made some repairs and returned the model to working order. Here is his anaylsis of the situation as an excerpt from the Bay Steamers Maritime Museum newsletter Steamlines May 2012 "I was confronted with a model of a steam engine used years ago as a training aid for hopeful steam engineers. Already having a knowledge of steam operations, I considered a museum write-up for that model a ‘piece of cake’. However, on turning the model’s crankshaft, the valve timing seemed ‘out of kilter’ with the movement of the piston. Problem was that the two eccentrics on the crankshaft were not properly secured to it. Eventually I fastened the two eccentrics to the crankshaft where I felt that they should be and then realized that one of them had a chain-driven valve-timing device attached. This would be adjusted while an engine was running to achieve best performance and fuel economy whilst in operation by accurately controlling the period of time during which steam under pressure from the boiler would be admitted to the cylinder and give greater time for the steam to expand in the cylinder, move the piston and turn the crankshaft and thus, drive the attached apparatus. When the valves were correctly set up it was then possible to get the model to function properly.The model comprises a green section, which is the actual the model mounted on a brown painted board. There are two parts of the model, painted white representing the steam passages, and black representing the cast- iron portions of the cylinder-block casting, and of the main valve sliding between the cylinder a second sliding valve. Of the black portions, one slides back and forth being connected to a rod which is connected to an eccentric clamped to the crankshaft and is the nearer to the flywheel of two eccentrics. This eccentric is attached to the crankshaft at an angle of 90 degrees to the crank-pin attached to the flywheel. To operate the model simply turn the flywheel by means of the handle attached to its crank-pin. A second eccentric is also attached to the crankshaft, further away from the first eccentric, and it is adjusted to operate 90 degrees from the first eccentric (that is, 180 degrees from the crank-pin) A piston (painted silver) is located in a plastic cylinder and has a piston rod which passes through one end of the cylinder, (in actual practice a steam-proof gland seals the cylinder against loss of steam) terminating in a cross-head slide between four rails guiding it. From this cross-head, a connecting rod joins the piston-rod to the flywheel via the crank-pin attached to the flywheel which is part of the crankshaft. (In actual practice, a flywheel may not be used, particularly in a multi-cylinder engine.) The white portions of the model painted nearest to the cylinder represent the two steam ports cast into the main cylinder block, whilst one section painted in between those two represents the exhaust outlet (which may be connected to a condenser to conserve water, or to the open air). The main slide valve has three white-painted portions painted thereon. It has two white-painted marks representing the steam passages to the steam ports into the cylinder, and a third section in between the other two, being that part of the valve through which exhaust steam passes in line with the ports in the cylinder block. By rotating the flywheel, the operations of an engine will be observed as steam is admitted to the main valve via the gap between the two jaws of two moveable portions of a second sliding valve which is operated by the second eccentric attached to the crank-shaft. This eccentric is used to finely tune the valve timing of this model to obtain best running results of an engine. There are various methods used for reversing a steam engine. model compound steam engine, steam engine, model, crankshaft, valve, flywheel, wattle, engineer, eccentrics

Black and White photograph of a stone mason's business located at the corner of Myers Street, Lyttleton Terrace and Mitchell Street Bendigo. Names and other on the fence are; W. & R. Quin - late- P. Finn & Co. A partial name on the left makes reference to Funeral Masons. Inside the yard are models of the types of Headstones that may be purchased.business, retail, funeral masonry, stone mason and st pauls cathedral.

The plans are presented in a keepsake folder. They show marks of sections copied and assembled together. Overall, the plans are similar to those drawn by Mr P Webb to the order of the Loch Ard Shipwreck Centenary through Mr P Williams, the organizer of the Centenary competition. “The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail on the plans is the inclusion of the following useful information about the original vessel … Tonnage….1,693 G.R.T., 1,624 N.R.T. Dimensions, Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.), and the ship’s fate. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history.Model ship plans for building the LOCH ARD. The three sets of plans are presented in a textured cream card folder with the supplier’s details and an oval cameo drawing of the LOCH ARD. The plans are detailed and drawn to scale. They and printed on good quality paper with details, scale and legends. Sheet 1: Sails and Rigging Sheet 2: Lines, Decks and Details Sheet 3: Masts and Spars Details include deck fittings, the wheel, lights and the shipping company’s house flag. The ship model plans are copyrighted in 1977 and 1978 to Webb Warships Pty Ltd. The folder has details of four locations; Australia, USA, UK and New Zealand. Sheet has a handwritten inscription.On Folder: "LOCH ARD CLIPPER SHIP, 1874, MODEL CONSTRUCTION PLAN SET, WEBB WARRIORS PTY LTD." "CONTENTS COPYRIGHT (C) 1978, WEBB WARSHIPS PTY LTD" "WEBB WARSHIPS PTY LTD, PO BOX 50, WILLIAMSTOWN, VICTORIA 3016, AUSTRALIA" Handwritten inscription on sheet 3: "834" "THE FLOATING DRYDOCK, PO BOX 16066, PHILADELPHIA, PENNA. 14114, USA" "SAMBROOK MARINE (PLANS), 84 BROAD ST. TEDDINGTON, MIDDLESEX, UK" "BYMODELS, PO BOX 3037, FORBURY, DUNEDIN, NEW ZEALAND" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ship model plans, loch ard model plans, sailing ship, loch ard centenary, webb warriors pty ltd, 1977, 1978, centenary competition

These two framed model ship plans are from more than 650 produced for the LOCH ARD Centenary (1878-1978) Commemoration Committee. These plans were originally researched, designed and distributed in 1977 to assist entrants in the Committee’s Ship Model Competition. The competition was arranged as a means of creating public interest and awareness for the 100th anniversary of the tragic LOCH ARD shipwreck on Victoria’s south west coast in 1878. The main subject specified for modelling was “The Loch Ard ― Iron Wool Clipper 1873”. “The plans were drawn by Mr P Webb to the order of the Committee through Mr P Williams, organizer of the competition. The details were based on all available information which resulted in considerable historical research…and received favourable comment from model makers because of their attention to detail…In excess of 650 sets of plans were sold before entries closed…Many plans were probably purchased by collectors and interested persons for historical reference. An illustrated historical story sheet…was prepared and enclosed with the plans…” (‘Loch Ard Shipwreck Centenary 1878-1978 Report’, November 1978). An example of the attention to historical detail delivered on the plans is the inclusion of the following useful information about the original vessel: “Tonnage….1,693 G.R.T., 1,624 N.R.T. Builders….Charles Connell & Co., Ltd., Scotstoun, 1873. Owners….General Shipping Co., Glasgow, (Aitken Lilburn & Co., Ltd.)”. The quality of research and drafting makes these framed copies of considerable interpretive value to related items from the LOCH ARD shipwreck on display at Flagstaff Hill. They were originally mass produced but are now out of print. Flagstaff Hill retains other (unframed) copies in storage. The plans, in conjunction with the scale Ship Model of the LOCH ARD also on display, are of interpretive significance to Flagstaff Hill Maritime Village. The plans provide historical and technological context to artefacts from the shipwreck, increasing understanding and appreciation of those objects. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Two framed model ship plans of the LOCH ARD. These are detailed and researched plans from the original vessel, drawn to scale and printed on good quality paper, and framed behind glass to be hung on display. One slightly smaller plan “Lines, Decks and Details” portrays the hull lines as a body plan (straight on at the bow), a sheer plan (full side view), and a half breadth plan (a top-down view of deck to keel), as well as two top-down views of the upper decks and main deck with fittings and details of specific fixtures. One slightly larger “Sail and Rigging Plan” presents a side on, above deck view of masts and shrouds and a front on, above deck view showing “Elevation of Mainmast Looking Aft”. Each plan bears the draftsman’s initials and date of completion (“P.A.W. 10/77”). The larger plan also includes a boxed label attributing the project to the “LOCH ARD CENTENARY Commemoration Committee Ship Model Competition.”Smaller plan: heading “LOCH ARD: LINES, DECKS and DETAILS”; initials “P.A.W. 10/77”. Larger plan: heading “LOCH ARD: SAIL and RIGGING PLAN”; initials “P.A.W. 10/77”; label “LOCH ARD CENTENARY Commemorative Committee Ship Model Competition”. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ship model plans, loch ard model plans, sailing ship, loch ard centenary

This Post Office Receiving Pillar was restored in 1980 and is now a fully operational Australia Post mailbox. In early August 1980 Prime Minister Mr. Fraser posted Warrnambool’s first commemorative envelope into this restored Post Office Receiving Pillar at Flagstaff Hill Maritime Village. The special limited edition envelopes are numbered 1 – 7000. When posted, the envelopes would have the Flagstaff Hill Logo and Flagstaff Hill Maritime Village’s own postmark of a ship’s steering wheel surrounding a lighthouse and a sailing ship, and were dated August 3 on the First Day Cover. Amongst Flagstaff Hill’s collection is that very first letter posted by Prime Minister Fraser. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. [References: Flagstaff Hill Maritime Village records, The Warrnambool Standard, August 1st, 1980, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 “High Door Round” design. Tall cast iron cylinder with decorative dome cap with crown on top. Side has a slot and a hinged door with handle shaped as a fist. Painted red with gold trim. “POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Restored in 1980 and once again operating as an Australia Post mailbox. Commemorative plague on pillar.“POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Flagstaff Hill Maritime Museum – Port of Warrnambool. This letter receiver was officially commissioned on 3rd August 1980 by the Prime Minister of Australia, the Right Honourable Malcolm Fraser M.P. on completion of 25 years’ service as the Federal Minister for Wannon.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post

Post Office Receiving Pillar was Collected from Warrnambool City Council’s Scott Street Depot and transported to Flagstaff Hill, stored in the Barracks area Friends of Flagstaff Hill began the project of restoring the Post Office Receiving Pillar in early 2011. The replacement dome required a pattern to be made from paper, then timber, then someone to manufacture it. The cast iron body required sand blasting and undercoating. The pillar was installed in Flagstaff Hill Maritime Village in March 2014. A specialist visited the Village and painted the pillar with 7 coats of ‘post office red’ then completed the job with gold paint on the details. In 2015 an information plate of brass was fitted to the Pillar in the position that would have originally announced the clearing times. It was originally manufactured by G Couch, Engineer, Alliance Iron Works, Melbourne. Gordon Couch passed away in June 1896 and his Works were offered for auction in November 1897. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. … [References: Flagstaff Hill Maritime Village records, The Argus, 11th April, 1890, The Argus, 2nd July, 1896, The Argus, 30th Nov. 1897, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 "High Door Round" design, restored 2014 Tall cast iron sylinder with decorative dome cap, slot in side, hinged door with handle shaped as a fist. Painted red with gold trip..Reconditioned barrel, reconstructed dome. Restored by Friends of Flagstaff Hill, 2014. Now a working letterbox. Made in Melbourne.Oval maker's plate “ - G. COUCH - / ENGINEER / ALLIANCE IRON / WORKS / MELBOURNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post

ARCHIBALD RUSSELL (1905-1949) Until 1922 completed numerous cargo voyages to Sydney, Newcastle, Fremantle, Geelong, and especially Melbourne. In 1923 she was bought by Gustaf Erikson, the famous Finnish ship-owner, and carried timber to Melbourne in 1926, 1927 and 1928, and carried grain from Geelong in 1927 and Williamstown in 1929 - and that was the year she won the Grain Race (93 days). She then carried grain from South Australia until the war and was then was taken over by the British and used as a food storehouse through the war. She was broken up in 1949 on Tyneside. An example of end-era sailing ship trade with Australia. Reference: http://www.bruzelius.info/Nautica/Ships/Fourmast_ships/Archibald_Russell%281905%29.html She was launched at Greenock in 1905 for John Hardie & Sons.Has significant links with Australian and Victorian commerce. An example of end of era sailing ship trade with Australia. A detailed static model with carved and laminated hull painted in white and maroon, the varnished deck with detailed fittings and rigging, raised on wooden base with simulated waves. Model of 4-masted barque launched at Greenock in 1905 for John Hardie & Sons. Steel barque built by Scott Shipbuilding and Engineering Co., Greenock, at a cost of £20.750. Her dimensions were: 291'3 × 42'9 × 24'0 (88.77 x 13.03 x 7.32m) and tonnage: 2354 GRT, 2048 NRT and 3950 DWT. Equipped with two 120' long bilgekeels. Rigged with royal sails over double top-gallant sails. "Archibald Russell" painted on ship

This beautifully made ship model is a side relief of the steam ship “S.S. Nelson”, which was launched in 1877. The model’s case stands out because of its ornately carved internal frame. Relief models of ships, sometimes called half models, were often built by the shipbuilders as an exact scale model of the finished ship. The shipbuilders would use the model to ensure that the design was balanced. They would use the model as a point of reference during building. Also, ship models were used to demonstrate the designs to prospective buyers. It is not known whether this model of the “S.S. Nelson” was made for these purposes. HISTORY of the “S.S. Nelson” During the period 1840-1890 shipping was the cheapest and most practical means of carrying produce and goods to and from coastal towns such as Warrnambool. In the 1850s regular domestic steamer services began and by 1870 the passenger trade was booming. Passengers were taken to the ship’s side in small boats called lighters, which took it to ships at anchorage in Lady Bay, then climbed aboard up ladders or gangways. Their fare covered accommodation Saloon/Cabin section (higher class and more expensive) or the Steerage section (lower class and less expensive, below deck level). Produce included livestock such as pigs and fowls, and dairy products, bales of wool, and potatoes. The goods were loaded from the Warrnambool Jetty into the lighters. The S.S. Nelson was built by Messrs Blackwood and Gordon of Port Glasgow for a cost £25,000 in 1877. She was an iron screw steamer with an overall length of 200 feet, beam 25.5 feet and a depth of hold of 19.4 feet, which gave her a gross measurement of 649 tons. Her engines gave her a best speed of 13 knots and a maintainable speed of 12 knots. She was described as a handsome, star decked, efficient steamship, fitted with accommodating for 75 first class passengers in a saloon, and 40 second class passengers in a cabin. The S.S. Nelson arrived in the colony of Victoria on March 9th, 1877. She was first registered in Warrnambool by the Warrnambool Steam Packet Company under the management of Mr William Evans, and employed in the coastal trade of south west Victoria. She was very popular in 1878, registered under the new ownership of the Western Steamship Navigation Company, trading between Melbourne, Warrnambool and Portland. Captained John Nicholson commanded the S.S. Nelson after the previous captain, Thomas Smith, was suspended in 1882 for six months by the Victorian Steam Navigation Board following the collision between the S.S. Nelson and the S.S. Julia Percy. Other Captains include S Drewet and John Thompson. The S.S. Nelson was sold to Messrs. Huddart, Parker and Co. and re-registered in Melbourne on June 23rd, 1890. The new owners intended to use her for their Bass Strait crossing between Melbourne, Victoria and Launceston, Tasmania. On the night of Friday, June 27th 1890, under the command of Captain Carrington, she was on her way to Launceston on her first crossing for her new owners. She had no passengers and very little cargo and was to return to Melbourne with passengers the following morning. She was only 21 hours out of the dock when she struck Porpoise Rock in the Tamar River. All crew of 25 were saved but the bulkheads gave way and she rapidly filled before keeling over and disappearing in approximately 130 feet of water. The new owners had fully insured the almost 14-year-old S.S. Nelson with the Australian Alliance Insurance Company and she had only been in their possession for four days. This ship model of the S.S. Nelson is significant for its connection with the steam screw ship S.S. Nelson, one of a fleet of vessels owned by the Warrnambool Steam Packet Company. The S.S. Nelson was specifically built and purchased for the Victorian coastal trade business of the late 19th century, when shipping was the cheapest and most practical means of transporting goods and passengers between Victoria’s coastal towns and the major port at Melbourne. Once the railway came to Warrnambool in 1889, the steam shipping industry began to decline.Ship model; relief of the S.S. Nelson, showing deck superstructure, ventilators and single funnel. Ship's name is painted on the bow "NELSON". Wood model, varnished finish over natural wood and black painted areas. Timber case with ornate edging and glass front and sides."NELSON" painted on bowflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, s.s. nelson steam ship 1877, screw steamer, 1877 vessel, ship model s.s. nelson, blackwood and gordon port glasgow, warrnambool steam packet company, western steam navigation company, south west coast trader, sea transport melbourne to portland, victorian steam navigation board, s.s. julia percey, captain john nicholson, captain thomas smith, captain s drewet, captain john thompson, captain carrington, huddart, parker and co, bass strait crossing 1890, sea transport melbourne to launceston, porpoise rock tamar river, australian alliance insurance company, ship model making, vessels, victorian coastal trader

This guillotine is a hand operated machine specifically designed to cut through multiple sheets of paper or card. It has a very heavy and sharp single blade knife mounted between vertical guides or runners. The main users of a machine like this is in by the printing and publication binding industry. Book binding companies use a guillotine to evenly trim the pages of a book after it has been bound. The way the guillotine is used is - paper or card is stacked squarely on the flat table and pushed firmly against the back guide - the handle below the table at the front of the machine is wound around, which brings the back guide forward, pushing the paper stack forward and positioning the centre of the stack below the vertical frame - the upper wheel is wound around, which brings the clamp and firmly in position on top of the paper, to hold it very firmly - the large wheel on the side of the machine is turned around to lower the long sharp blade down onto the pages and cut them through. The sharp edge of the blade is protected somewhat from becoming blunt; a block of wood sits in the table under the stack of paper An early model of a guillotine was patented in 1837 by Thirault, who built a model with a fixed blade. Guillotines similar in principal to this one were patented by Guillaume Massiquot in 1844 and 1852. Over the years many improvements have been made and operation has moved from man power to electricity. Oscar Friedheim Ltd. was the importer and wholesaler of a large range of machinery and equipment for the printing and bookbinding industry. He sold most of his equipment under his own name. On this guillotine or paper cutter he refers to the origin of the guillotine’s manufacture only as “German Manufacrure”. A reference book “Commercial Bookbinding: a description of the processes and the various machines used" by Geo. Stephen, 1910, recommends Oscar Friedheim, amongst others, for the supply of “reliable cutting machines for hand or power”. It also recommends Oscar Friedheim’s for a wide range of other printing machinery and processes. OSCAR FRIEDHEIM LIMITED, LONDON Oscar Friedheim Ltd. was established in 1884 and operated from Ludgate in London. The company was an importer and wholesale supplier in the 1880’s, offering machinery and equipment for the printing and packaging industry for the UK and Ireland. The company became incorporated in 1913. An advertisement of 1913 includes a telegraphic code plus two telephone numbers for Oscar Friedheim Ltd and invites readers to call at the Ludgate, London, showrooms to see the machines working. The company later became Friedheim International Ltd. The book titled “Friedheim, A Century of Service 1884-1984 by Roy Brewer, celebrates Oscar Friedheim’s achievements. Friedheim International currently operates from Hemel Hempstead, on the northern outskirts of London UK. It promotes itself as “… the leading supplier of finishing, converting and packaging machinery to the printing, graphic arts, and highly varied packaging industries in the UK and Ireland. The company’s policy is simple – “employ the best people, work with the best equipment manufacturers in the world, and treat our customers as partners!” The company still sells guillotines. The guillotine is significant for its ability to represent aspects of the printing trade in Warrnambool and in a typical port town circa 1850 to 1910. It represents communication methods and processes used in the time before electrically powered equipment became common in industry.Guillotine (or paper cutter), hand operated. Metal framework with vertical guides, stand and metal mechanical parts including wheels and gears. Table with back guide; handle below front of table winds to move the back guide. A wheel at top of machine winds to adjust pressure of the clamp on the work on the table below it. The cutting blade fits between vertical guides; a timber insert in the table below the blade helps minimise the loss of sharpness of the blade. A handle on the side of the machine turns a large spoked wheel, which rotates a large gear, causing the blade to move up and down. Makers details are on a small oval plaque with embossed maker’s details is screwed onto main body. Maker is O Friedheim, London, and the machine is of German manufacture, circa late 1880’s.Maker’s plaque inscribed "O. FRIEDHEIM / London / German Manufacture"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, printing machinery, printer’s guillotine, paper guillotine, paper cutter machine, oscar friedheim ltd london, friedheim international ltd, bookbinding industry, printing industry

The dates 1907-1914 cover the first eight years of the Ballarat Technical Art School No. 15, a division of the Ballarat School of Mines. This covers that time before the custom built Ballarat Technical Art School opened in 1915.48 pieces of hand and type written correspondence relating to the Ballarat Technical Art School, covering its first eight years. .1) Transferal of money from the Ballarat Fine Art Public Gallery Association to the Ballarat School of Mines for credit to the Ballarat Technical Art School No 15. .3) Letter from Herbert H. Smith reporting on the appointment of Thomas Trengove to the position of Art Director at the Stawell School of Mines, and the appointment of Arthur Lilburne and Pridgeon as student assistants. .5) Application from Arthur M. Lilburne for a position at the Ballarat Technical Art School. .7) Resignation of Thomas Trengrove from the Ballarat Technical Art School so he could take up a position at the Stawell School of Mines, 1908. .9) Correspondence from H.H. Smith concerning expectations. 1908 .10) Report from Herbert H. Smith on the number of Art enrolments at the Ballarat West Art School, the Ballarat East Art School and the Drawing Centre. .8) Correspondence from Henry H. Hall regarding his teaching appointment, 1908 .11) A Report on architectural studies at the Ballarat Technical Art School on Clegg and Miller letterhead. .12) Report from M.C. Young. .13) Report from Arthur Lilburne .14) Reorrt from J.A. Wright, 1908 .15) Report on student numbers from Edith M. Cornell, 1908 .16) Report on classes in Freehand Geometry and Perspective by Fred Foster, 1908 .16b) Report by Decorating and Signwriting teacher John Barber, 1908 .17) Report from Esther and Lily Green from the East Public Library, 1908 .18) Report from Percy Isaac of the Ballarat East Public Library re manual training and Sloyd classes. .19) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1908 .20) Report from Arthur M. Lilburn on the Elementary Evening Classes and the State School Teachers Saturday class, 1908 .21) Report by M.C. Young on drawing classes at the Ballarat Technical Art School, 1908 ,22) Report by Fred Foster on Freehand Geometry of Perspective classes at the Ballarat Technical Art School, 1908 .24) Report by E. and L. Green on classes at the Ballarat Technical Art School, 1908 .25) Report by Miss Wright on Dresscutting classes at the Ballarat Technical Art School, 1908 .26) Report by John Barber on Signs and Decorating classes at the Ballarat Technical Art School, 1908 .27) Report by Edith Cornell on Millinery classes at the Ballarat Technical Art School, 1908 .28) Report by Percy R. Green on Manual Training ad Carpentry classes at the Ballarat Technical Art School, 1908 .29) Correspondence from Posenby Carew-Smyth and Melbourne Education Department letterhead, 1908, .30) Report on the need for instruction in Decorative Needlework at the Ballarat Technical Art School by Principal Herbert H. Smith. Ida Johnston undertook classes from Miss Macgeorge in Melbourne at the suggestion of Posonby Carew-Smyth, and H.H. Smith suggested she be appointed to teach the class, 1910 .31) Report on the Junior Technical School, 1915 .32) Quarterly Report on the Ballarat Technical Art School by Principal Herbert H. Smith, 1911 .34) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .34b) Invoice from James Ingram and Son, Booksellers and School Stationers, 1908 .35) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .36) Correspondence from F.N. King seeking employment at the Ballarat Junior Technical Scool due to the resignation of A.W. Steane, 1914 .37) Correspondence regarding the qualifications of F.N. King, including Sloyd at NAAS, Sweden, 1914 Reference from F.V. Burridge of the London County Council Central School of Arts and Crafts (incorporating The Royal Female School of Art), Southamoton Row, London, regarding Francis N. King, 1913 .40) Correspondence on Ballarat Junior Technical School letterhead when it was located at 104 Doveton Street, Ballarat (Dana Street Primary School) from Albert W. Steane. The report mentioned to appointment of R.W. Richards commencing duties as a science ad mathematics master and Francis N. King as Woodwork and Modeling instructor, 1914 .41) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .42) Correspondence on Stanley Mullen Company letterhead requesting a junior (lady) to help in designing and drawing from Needlework, 1914 .43) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914 .44) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith, 1914. The report includes the resignation of Donadl Johnston to take up the position of assistant to Posonby Carew-Smyth. Harold Herbert to travel to England, and Edwin Cannon to to apply his art knowledge commercially. H.H. Smith suggested they be replaced with Ken Moss and Harold Brown .45) Report on the progress of the Ballarat Technical Art School by Principal Herbert H. Smith .46) Hours and duties of the caretaker and attendant at the Ballarat Technical Art School .47) Letter from the J.A. Powell, secretary of the Ballarat West Art School to the Ballarat School of Mines. ballarat technical school, henry j. hall, arthur m lilburn, thomas h. trengrove, herbert h. smith, g.w. clegg, m.c. young, j.w. wright, fred foster, j. barber, etsher green, lily green, p. isaac, e.m. cornell, albert steane, f.n. king, letterhead, ballarat fine art public gallery association, richard maddern, j. powell, j.a. powell, frederick martell, ponsonby carew-smyth, stawell school of mines, lilburne, pridgeon, arthur lilburne, henry hall, edith m. cornell, john barber, east ballarat library, esther green, percy isaac, sloyd, millinery, r.w. richards, frank king, a.w. steane, naas, majorie walker, art needlework, stanley mullen company, donald johnston, ted cannon, edwin cannon, harold brown, harold herbert, art gallery of ballarat

Yields information the model tram used during the second world war and some of the people involved in fund raising in BallaratReproduction of c1944 photograph of Ballarat's Most Popular Conductress Competition to raise funds for the Red Cross Prisoner of War fund. Photo features a model tram, No. 41, known as the Treasure Tram with a group of boys and men group at the rear of the tram. Boys are dressed in army or sailors uniforms. Men dressed in army uniform and one SEC conductor with conductors bag around shoulder. From original of another reproduction believed to be held by the Ballarat Historical Society. Incorrectly labelled as being taken during 1946. See other reference for details of the Treasure Tram. Conductor believed to be Robert Morrison. Identified by Doreen Brown, 307 Simpson St. Buniyong as her father - 53 412 125, during the exhibition. Laminated with 4 Velcro dots on rear. 5/2/1997 - additional print 10" x 8" stored with item. 26/7/2007 - additional print "10" x 8" stored with item - ex Alan Bradley photographs 5/2007. Copy negative scanned and image changed to a higher resolution 5-5-2020. See Alan Bradly, History of Ballarat Tramways.trams, tramways, ballarat trams, secv, world war ii, staff, fund raising , tram treasure tram, tram 41

Articles in the annual report include: the expenses incurred due to increased client numbers and wages rises, the need and inability to sell the Woollahra (Helen Keller hostel) site, the success of the fledging Reference Library seen as a model for other organisations, Matron Scott (Victor Maxwell nursery) received an M.B.E., plans to develop 3 more day centres to add to the five already operating, operations undertaken in the workshop, continued demand for places at Alexis Albert and Lighthouse hostels, recognition through the renaming of 2UW Blind Appeal to the 2UW Lions Blind Appeal which has been run since 1952, blind bowlers looking forward to being on the green at Enfield, Cricket club looking forward to when tip in Mitchell St is filled in so that it can be made into a home ground, and the collaborative relationship had with other blindness related organisations.1 volume of text and imagesroyal blind society of new south wales, corporation records, john l waddy, alexis albert, mary lidbury, sandy robertson kindergarten, victor maxwell kindergarten, june gollan, max nisbett, terry kenaghan, h.f. benning, gillian bunning, hugh hay, leith myerson, william street blind women's bowling club, lawrence mccredie, edward (ted) hanlon, kerrie donovan, balmain blind bowling combination, cricket

Published: 29 June 1934 Published title: PUBLIC SCHOOLS FOOTBALL BEGINS WITH SCOTCH--XAVIER MATCH. Published caption: “The Public Schools 1934 Football season began yesterday when Scotch met Xavier on the Olympic Park ground, and after a wonderful recovery in the third term, Scotch registered a narrow win. Pictured above is the crowd of Scotch boys who congregated behind the goal after the addition of another goal to their score.” Description: Scotch College pupils exuberantly cheer their team’s goal at the first football match of the Public Schools Premiership and Championship for 1934 between Scotch College and Xavier College at Olympic Park, Melbourne (where AAMI Park is now). Research by project volunteer, Fiona Collyer: The Public Schools Premiership and Championship was an Australian Rules football tournament held every winter, over five weeks between six schools- Scotch College, Xavier College, Melbourne Grammar, Wesley College and traditional rivals Geelong Grammar and Geelong College. The school that won the most games out of the five played, won the competition. As the 1933 Premiers, Xavier College had the honour of playing the opening match of the season on 28 June against runners-up Scotch College at Olympic Park (where AAMI Park is now). The Public Schools Premiership matches were widely reported in Melbourne’s daily newspapers with photographs and commentary of every game. Weekly society magazine “Table Talk” featured reports and seven photographs of the first games of the season. Australian Broadcasting Commission (ABC) wireless station 3AR interspersed their afternoon program of reproduced music with detailed descriptions of the matches. Also reporting the matches was “Forty-Years-On”, presumably a student in the 1890s, whose regular column in The Herald newspaper “Activities In The Public Schools” published all the latest news on Victoria’s public (private) schools. In his column for The Australasian 7 July 1934, “Old Boy” writes about the Scotch versus Xavier match- “For more than half the game last week, Scotch was outplayed, but took the lead early in the last term and kept it. Scotch surprised even its own supporters by its dash in the last 25 minutes. Xavier, who became over confident by the prospects of victory, could not withstand the final onslaught. In the last quarter Scotch was the better side and won by seven points.” The final score was Scotch 11.11 (77 points) and Xavier 10.10 (70 points). At the end of this exciting match the overjoyed Scotch boys swarmed over the Olympic Park fences to chair their captain, Stanley Steele and carry him shoulder high, to the pavilion. The first documented game of a variation of Australian Rules football was played at Richmond Paddock (now Yarra Park) from 7 August 1858. Australian Rules football writer Hugh Buggy of The Argus 16 April 1952 explains- “It began when boys and masters of Scotch College and Melbourne Grammar School decided to play a 40-a-side game, with the first team to score two goals to be the winner. Goal posts were pitched more than a mile apart, one set on the Jolimont Hill and the other at Punt road Richmond. Nobody defined the boundary, and the play swung over the broad acres of the park and around the gum trees. It went on and on like a Test match, from noon till dusk. After 15 hours of play on three Saturdays the score was one goal all, and the game was abandoned for that season.” Rules of the game hadn’t been decided at this time - the earliest known rules were codified a year later in 1859. A sculpture and plaque located outside the Melbourne Cricket Ground (MCG), created by sculptor Louis Laumen in 2001, commemorates this game. It depicts two school boys chasing a ball along with umpire Tom Wills, a co-writer of the rules and promoter of Australian Rules football. A medley of Gaelic football, an Aboriginal game called marngrook as well as football played in English public (that is private) schools have been cited as inspiration for Australian Rules football. The word “Marngrook” meaning “game ball”, comes from the language of the Gunditjmara, First Nations people of southwestern Victoria. Marngrook was played at gatherings and celebrations and involved players competing to jump and catch the ball after it is kicked high into the air. The player that catches the ball then gets to kick it. The ball was made from possum skin, filled with pounded charcoal and tied with kangaroo sinews. Protector of Aborigines in Victoria, William Thomas (1794-1867) observed in 1841- “The men and boys joyfully assemble when this game is to be played. One makes a ball of possum skin, somewhat elastic, but firm and strong… The players of this game do not throw the ball as a white man might do, but drop it and at the same time kick it with their feet, using the instep for that purpose. The tallest men have the best chances in this game. Some of them will leap as high as five feet from the ground to catch the ball. The person who secures the ball kicks it. This continues for hours and the natives never seem to tire of the exercise.” The Victorian Football League (VFL), was founded in 1897 with eight teams playing Australian Rules football and held its first Grand Final at the MCG in 1902. From the start the games attracted large enthusiastic crowds, which included women. “Viva” writing in the Supplement to The Weekly Times-3 July 1886- LADIES COLUMN (By Viva) FOOTBALL. A Social Sketch. “…Of the popularity of football and footballers among women, there can be no doubt. Young, soft hearted girls, who would not “tread upon a worm," avow that football matches are "awfully jolly," and seem to regard accidents as a necessary part of the amusement…a great proportion of the spectators were ladies.” “Minetta” writing for Punch Magazine - “Ladies Letter, Holmby House, Toorak” 22 June 1905 “The "Football Girl" is a feminine genus at present much to the fore in Melbourne. Not that she plays football—at least not beyond a kick in the backyard or paddock—oh, dear, no! Her interest in the game is purely from a spectacular point of view. "Football Girls" usually hunt in couples, with two male barrackers attached. They know all about So-and-So's form, and whether he is a trier or has been bought. They go to each match of their particular club, and watch the play intently, their faces wearing a decidedly strained expression when their club is getting the worst of it. They are not ashamed to barrack either, when matters are progressing successfully… Yours ever, MINETTA.” The Herald 2 July 1909 published a cartoon by Ambrose Dyson depicting women football fans, which asked- “THE QUESTION OF THE DAY. Should Girls Go To Football Matches? Should they? The sex made up their mind about the matter very early on.” The resounding answer was- “Well, I’d like to see the man that would stop me!” At the final match of the 1934 tournament on August 2, Melbourne Grammar finished the season unbeaten, winning their tenth Public Schools premiership in 16 years. The Weekly Times 11 August 1934 reported-“Melbourne Grammar…had a rather lucky escape against Xavier…Had a Xavier player not touched a shot, kicked by a team-mate, as it was going through goal Grammar would have been beaten.” Final score - Melbourne Grammar 13.7 (85 points) defeated Xavier College 12.9 (81 points). Ladder for the 1934 Season- Melbourne Grammar-5 wins Wesley College- 4 wins Scotch College- 3 wins Xavier College- 2 wins Geelong Grammar- 1 win Geelong College- 0 wins The Associated Public Schools of Victoria (APS) exists today where eleven member (private) schools, including co-educational schools, participate in 21 sporting competitions throughout the year. (The descriptor “Public School” references the historical usage of the term and the model of the British public school). PUBLIC SCHOOLS FOOTBALL BEGINS WITH SCOTCH--XAVIER MATCH. (1934, June 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved June 18, 2025, from http://nla.gov.au/nla.news-article204824484 PUBLIC SCHOOLS FOOTBALL AT OLYMPIC PARK (1934, July 5). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 5. Retrieved June 18, 2025, from http://nla.gov.au/nla.news-article149682433 PUBLIC SCHOOLS. (1934, June 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 5. Retrieved June 3, 2025, from http://nla.gov.au/nla.news-article204824486 PUBLIC SCHOOLS FOOTBALL. (1936, July 3). The Argus (Melbourne, Vic. : 1848 - 1957), p. 18. Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article11888301 https://en.m.wikipedia.org/wiki/History_of_Australian_rules_football COLLEGE SPORTS (1934, July 7). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 48 (METROPOLITAN EDITION). Retrieved May 30, 2025, from http://nla.gov.au/nla.news-article145238393 GRAMMAR CHAMPIONS (1934, August 11). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 72. Retrieved June 1, 2025, from http://nla.gov.au/nla.news-article224562842 LETS LOOK AT FOOTBALL with HUGH BUGGY (1952, April 16). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved June 15, 2025, from http://nla.gov.au/nla.news-article23174340 FOR YOUNG PEOPLE AMONG THE SCHOOLS. (1934, August 7). The Age (Melbourne, Vic. : 1854 - 1954), p. 4. Retrieved June 14, 2025, from http://nla.gov.au/nla.news-article205521661 https://www.nma.gov.au/defining-moments/resources/australian-rules-football#:~:text=In%20the%20winter%20of%201858,games%20of%20Australian%20Rules%20football. https://apssport.org.au/about/ http://lindsaymagazine.co/from-marngrook-to-australian-rules-football/ https://collection.australiansportsmuseum.org.au/objects/70993/possum-skin-ball FOOTBALL. (1886, July 3). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 6 (SUPPLEMENT TO THE STORY TELLER). Retrieved September 7, 2025, from http://nla.gov.au/nla.news-article221741193 Ladies' Letter. (1905, June 22). Punch (Melbourne, Vic. : 1900 - 1918; 1925), p. 28. Retrieved September 11, 2025, from http://nla.gov.au/nla.news-article175410975 THE QUESTION OF THE DAY. (1909, July 2). The Herald (Melbourne, Vic. : 1861 - 1954), p. 9. Retrieved September 17, 2025, from http://nla.gov.au/nla.news-article242062970 Photographer notations on slide: "Scotch v Xavier - Olympic Park B42".schools, football

At the first match of the 1934 Public Schools Premiership and Championships at Olympic Park (where AAMI Park is now) between Scotch College (white shorts) and Xavier College, (black shorts) a mark is missed by Xavier players and then taken by a Scotch player. Research by project volunteer, Fiona Collyer: A crowd of schoolboys standing behind a picket fence, watch with anticipation as two teams contest a football at the goalposts. The Public Schools Premiership and Championship was an Australian Rules football tournament held every winter over five weeks between six schools- Scotch College, Xavier College, Melbourne Grammar, Wesley College and traditional rivals Geelong Grammar and Geelong College. The school that won the most games out of the five played, won the competition. As the 1933 Premiers, Xavier College had the honour of playing the opening match of the season on 28 June against runners-up Scotch College at Olympic Park (where AAMI Park is now). The Public Schools Premiership matches were widely reported in Melbourne’s daily newspapers with photographs and commentary of every game. Weekly society magazine “Table Talk” featured reports and seven photographs of the first games of the season. Australian Broadcasting Commission (ABC) wireless station 3AR interspersed their afternoon program of reproduced music with detailed descriptions of the matches. Also reporting the matches was “Forty-Years-On”, presumably a student in the 1890s, whose regular column in The Herald newspaper “Activities In The Public Schools” published all the latest news on Victoria’s public (private) schools. In his column for The Australasian 7 July 1934, “Old Boy” writes about the Scotch versus Xavier match: “For more than half the game last week, Scotch was outplayed, but took the lead early in the last term and kept it. Scotch surprised even its own supporters by its dash in the last 25 minutes. Xavier, who became over confident by the prospects of victory, could not withstand the final onslaught. In the last quarter Scotch was the better side and won by seven points.” The final score was Scotch 11.11 (77 points) and Xavier 10.10 (70 points). At the end of this exciting match the overjoyed Scotch boys swarmed over the Olympic Park fences to chair their captain, Stanley Steele and carry him shoulder high, to the pavilion. The first documented game of a variation of Australian Rules football was played at Richmond Paddock (now Yarra Park) from 7 August 1858. Australian Rules football writer Hugh Buggy of The Argus 16 April 1952 explains: “It began when boys and masters of Scotch College and Melbourne Grammar School decided to play a 40-a-side game, with the first team to score two goals to be the winner. Goal posts were pitched more than a mile apart, one set on the Jolimont Hill and the other at Punt road Richmond. Nobody defined the boundary, and the play swung over the broad acres of the park and around the gum trees. It went on and on like a Test match, from noon till dusk. After 15 hours of play on three Saturdays the score was one goal all, and the game was abandoned for that season.” Rules of the game hadn’t been decided at this time - the earliest known rules were codified a year later in 1859. A sculpture and plaque located outside the Melbourne Cricket Ground (MCG), created by sculptor Louis Laumen in 2001, commemorates this game. It depicts two school boys chasing a ball along with umpire Tom Wills, a co-writer of the rules and promoter of Australian Rules football. A medley of Gaelic football, an Aboriginal game called marngrook as well as football played in English public (that is private) schools have been cited as inspiration for Australian Rules football. The word “Marngrook” meaning “game ball”, comes from the language of the Gunditjmara, First Nations people of southwestern Victoria. Marngrook was played at gatherings and celebrations and involved players competing to jump and catch the ball after it was kicked high into the air. The player that catches the ball then gets to kick it. The ball was made from possum skin, filled with pounded charcoal and tied with kangaroo sinews. Protector of Aborigines in Victoria, William Thomas (1794-1867) observed in 1841- “The men and boys joyfully assemble when this game is to be played. One makes a ball of possum skin, somewhat elastic, but firm and strong… The players of this game do not throw the ball as a white man might do, but drop it and at the same time kick it with their feet, using the instep for that purpose. The tallest men have the best chances in this game. Some of them will leap as high as five feet from the ground to catch the ball. The person who secures the ball kicks it. This continues for hours and the natives never seem to tire of the exercise.” The Victorian Football League (VFL), was founded in 1897 with eight teams playing Australian Rules football and held its first Grand Final at the MCG in 1902. From the start the games attracted large enthusiastic crowds, which included women. “Viva” writing in the Supplement to The Weekly Times - 3 July 1886 LADIES COLUMN (By Viva) FOOTBALL. A Social Sketch. “…Of the popularity of football and footballers among women, there can be no doubt. Young, soft hearted girls, who would not “tread upon a worm," avow that football matches are "awfully jolly," and seem to regard accidents as a necessary part of the amusement…a great proportion of the spectators were ladies.” “Minetta” writing for Punch Magazine - “Ladies Letter, Holmby House, Toorak” 22 June 1905 “The "Football Girl" is a feminine genus at present much to the fore in Melbourne. Not that she plays football—at least not beyond a kick in the backyard or paddock—oh, dear, no! Her interest in the game is purely from a spectacular point of view. "Football Girls" usually hunt in couples, with two male barrackers attached. They know all about So-and-So's form, and whether he is a trier or has been bought. They go to each match of their particular club, and watch the play intently, their faces wearing a decidedly strained expression when their club is getting the worst of it. They are not ashamed to barrack either, when matters are progressing successfully… Yours ever, MINETTA.” The Herald 2 July 1909 published a cartoon by Ambrose Dyson depicting women football fans, which asked- “THE QUESTION OF THE DAY. Should Girls Go To Football Matches? Should they? The sex made up their mind about the matter very early on.” The resounding answer was- “Well, I’d like to see the man that would stop me!” At the final match of the 1934 tournament on August 2, Melbourne Grammar finished the season unbeaten, winning their tenth Public Schools premiership in 16 years. The Weekly Times 11 August 1934 reported-“Melbourne Grammar…had a rather lucky escape against Xavier…Had a Xavier player not touched a shot, kicked by a team-mate, as it was going through goal Grammar would have been beaten.” Final score - Melbourne Grammar 13.7 (85 points) defeated Xavier College 12.9 (81 points). Ladder for the 1934 Season- Melbourne Grammar-5 wins Wesley College- 4 wins Scotch College- 3 wins Xavier College- 2 wins Geelong Grammar- 1 win Geelong College- 0 wins The Associated Public Schools of Victoria (APS) exists today where eleven member (private) schools, including co-educational schools, participate in 21 sporting competitions throughout the year. (The descriptor “Public School” references the historical usage of the term and the model of the British public). PUBLIC SCHOOLS FOOTBALL BEGINS WITH SCOTCH--XAVIER MATCH. (1934, June 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved June 23, 2025, from http://nla.gov.au/nla.news-article204824484 PUBLIC SCHOOLS FOOTBALL AT OLYMPIC PARK (1934, July 5). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 5. Retrieved May 30, 2025, from http://nla.gov.au/nla.news-article149682433 PUBLIC SCHOOLS FOOTBALL. (1936, July 3). The Argus (Melbourne, Vic. : 1848 - 1957), p. 18. Retrieved May 30, 2025, from http://nla.gov.au/nla.news-article11888301 PUBLIC SCHOOLS. (1934, June 29). The Age (Melbourne, Vic. : 1854 - 1954), p. 5. Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article204824486 https://en.m.wikipedia.org/wiki/History_of_Australian_rules_football COLLEGE SPORTS (1934, July 7). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 48 (METROPOLITAN EDITION). Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article145238393 GRAMMAR CHAMPIONS (1934, August 11). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 72. Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article224562842 LETS LOOK AT FOOTBALL with HUGH BUGGY (1952, April 16). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article23174340 FOR YOUNG PEOPLE AMONG THE SCHOOLS. (1934, August 7). The Age (Melbourne, Vic. : 1854 - 1954), p. 4. Retrieved August 6, 2025, from http://nla.gov.au/nla.news-article205521661 https://www.nma.gov.au/defining-moments/resources/australian-rules-football#:~:text=In%20the%20winter%20of%201858,games%20of%20Australian%20Rules%20football. https://apssport.org.au/about/ http://lindsaymagazine.co/from-marngrook-to-australian-rules-football/ https://collection.australiansportsmuseum.org.au/objects/70993/possum-skin-ball FOOTBALL. (1886, July 3). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 6 (SUPPLEMENT TO THE STORY TELLER). Retrieved September 7, 2025, from http://nla.gov.au/nla.news-article221741193 Ladies' Letter. (1905, June 22). Punch (Melbourne, Vic. : 1900 - 1918; 1925), p. 28. Retrieved September 22, 2025, from http://nla.gov.au/nla.news-article175410975 THE QUESTION OF THE DAY. (1909, July 2). The Herald (Melbourne, Vic. : 1861 - 1954), p. 9. Retrieved September 22, 2025, from http://nla.gov.au/nla.news-article242062970Photographer notations on slide: "Scotch v. Xavier - Olympic Park B42".football, schools

Teenager’s Meccano model in The Age window Whilst Barry’s model is interesting, and he himself is more than interesting – renowned for his lifelong harmonica playing, vaudeville and stand-up comedy as “Mr Versatility” – it is the location of the photo which intrigued us. Was this the photographer’s office, and would it give us a clue to his identity? We thought he might be “Mr Duke” as some boxes of Kodak slides were so named! But we later deduced they were most likely related to the Duke’s Centenary visit to Melbourne. However, they did lead us to The Age archivist Michelle Stillman, who held the key to unlock the photographer’s identity. Louise McKenzie. Photographer notations on slide: "Model warship YiPi 14-12-34 B61" Published: 14 September 1934 The Age p15 Published title: MECCANO CRUISER Published caption: Barry Sandford (17) of Richmond, recently completed this splendid Meccano model of a modern cruiser. It is fitted with four swivelling turret guns, six quick-firers, searchlight, movable anchor rudder and propeller. This model is on view in "The Age" office window, Collins-street. Trove article identifier: http://nla.gov.au/nla.news-article205072014 Description: Meccano model of cruiser. Wood panelled office walls and boxes of glass slides can be seen in the background. Research by project volunteer, Louise McKenzie: The second slide we scanned, this photo of Barry Sandford’s Meccano model of a cruiser was of particular interest because it appeared to have been taken in the photographer's studio/office. For the bulk of our project, the identity of the photographer was not known, and we delighted in imagining who they were, whether they were amateur or professional, and what else might be stored in those neatly labelled boxes in the background. But the photo had its own story regardless. A photo of Barry Sandford’s meccano model appeared in the Melbourne AGE on Friday 14 December 1934; it was probably the same photo as the one in our collection – now cropped to remove the background office environment. This background shows shelves of Kodak Panochromatic, and archived boxes labelled “DUKE” with various references: D1 – D23, and one labelled ‘DUKE Not Used’. On a shelf there is a stack of wooden glass plate holders. It wasn't until early 2023 that the photographer's identity was revealed with the help of archivist/librarian at The Age, Michelle Stillman. As for young Barry – what a talent! Meccano was hugely popular at this time. The Melbourne Meccano Club met on a Tuesday at the YMCA building. On 18 August 1933 The Age reported that at their upcoming meeting the model builders “will gain an insight into the oil industry from a lecturer and moving pictures supplied by the Vacuum Oil Co.” Models reflected an interest in rapid technological developments of the time, and also key activities. On 2 November 1934 The Age showed Barry with a model of Sir Charles Kingsford Smith’s Lockheed Altair, “Lady Southern Cross”, which Kingsford Smith purchased with the intent to compete in the MacRobertson Air Race as part of the Melbourne Centenary celebrations. He did not participate, but in late 1935 he and co-pilot John Thompson “Tommy” Pethybridge flew Lady Southern Cross from India to Singapore in an attempt to break the England-Australia speed record. Sadly, on the night of 8 November, they disappeared over the Andaman Sea and were never found. The Harmonica Riff Raff blog provides an amazing and comprehensive commentary on Barry Sandford's life. He is described as a Richmond boy of many talents – model making, archery, comedy, kite making, magic and juggling, as well as a harmonica virtuoso. He was particularly renowned for his harmonica playing and the creation of a two-foot long harmonica, and a tiny, hands-free organ which he played fully enclosed in his mouth. He promoted himself as Mr. Versatility and often featured in Melbourne news articles in the 1930s and 1940s. He remained very active in the entertainment business throughout his life, including as a member of the Four Octaves harmonica group, on the Tivoli circuit, and in vaudeville and stand up comedy. He successfully made the move from stage and radio into television. He died in 1992, still saluted by his peers as the gentleman, Mr Versatility. References: MECCANO CRUISER. (1934, December 14). The Age (Melbourne, Vic. : 1854 - 1954), p. 3. Retrieved January 22, 2024, from http://nla.gov.au/nla.news-article205072014 MIMIC MECCANO WARFARE. (1933, July 21). The Age (Melbourne, Vic. : 1854 - 1954), p. 2 (This Supplement is Published Every Friday). Retrieved September 19, 2023, from http://nla.gov.au/nla.news-article204368610 MELBOURNE MECCANO CLUB. (1933, August 18). The Age (Melbourne, Vic. : 1854 - 1954), p. 1 (This Supplement is Published Every Friday). Retrieved September 19, 2023, from http://nla.gov.au/nla.news-article204367564 MECCANO MODEL OF LADY SOUTHERN CROSS. (1934, November 2). The Age (Melbourne, Vic. : 1854 - 1954), p. 3. Retrieved September 19, 2023, from http://nla.gov.au/nla.news-article205083196 Charles Kingsford Smith, Wikipedia, https://en.wikipedia.org/wiki/Charles_Kingsford_Smith 'Mr. Versatility', Harmonica Riff Raff, https://harmonicariffraff.blog/2022/09/05/mr-versatility/ Photographer notations on slide: "Model warship YiPi 14-12-34 B61".ships, models, the age, harmonicas, meccano

A dressmaker is making final adjustments to a dress worn by a model. The dress is ankle-length, has long sleeves, and features a (probably) black and white zebra-like pattern. Published: Age (Melbourne, Vic. : 1854 - 1954), Friday 3 November 1933, page 8 Published title: LAST-MINUTE TOUCHES FOR DERBY AND CUP DRESSES. Published caption: Always there is a last-minute rush of orders for race frocks, and this year is proving no exception. Dress makers are working to capacity to cope with the orders and this photograph shows a city establishment with girls giving the finishing touches, to frocks which, if the weather be kind, will grace the lawns on Derby and Cup Days. Inset — A fitter tries the effect of a new style on a model. Trove article identifier: http://nla.gov.au/nla.news-article203354456 References: LAST-MINUTE TOUCHES FOR DERBY AND CUP DRESSES. (1933, November 3). The Age (Melbourne, Vic. : 1854 - 1954), p. 8. Retrieved February 21, 2024, from http://nla.gov.au/nla.news-article203354456Photographer notations on slide: "Finishing frocks for Cup Day 1933 Age B5".horseracing, clothing and dress, 1930-1939

The Fluotec vaporizer was made to administer only halothane (Fluothane). It was one of the first vaporizers made for use with only one anesthetic, and one of the first to use a bimetallic coil for temperature compensation.The bimetallic coil is part of the valve that controls how much of the carrier gas enters the vapor chamber to vaporize the anesthetic.Modern vaporisers still use this bimetallic coil technology today. Serial No: 5040 Patent No: 814427 A ready reference “calibration card” came attached to these vaporizers. The card was printed with a scale that indicated the concentration of halothane produced at different flow rates and dial settings.This item does not have a reference card with it.This Flotec vaporiser holds historic significance as a very good example of an early model piece of equipment for halothane only administration. Modern vaporisers still use the bimetallic coil technology and therefore this object has scientific and research significance.Small metal stand with 3 rubber feet, Main metal cylinder body housing the bimetallic coil. Inlet valve with a brass attachment and metal outlet valve. Metal dial that controls % Penthrane. Dial notches range from OFF to 1.5. Small silver chain hangs from the top of the dial lever. Small silver metal box held by 4 screws and a round bakelite window with FULL inscribed in white text located on the front of the main cylinder Fluothane Cyprane vaporiser. Fluotec Mark II by Pentec, with stand. Royal Children's HospitalStamped on Inlet and outlet valve: INLET OUTLET Stamped on to a plate on the front of the vaporiser: KEEP UPRIGHT / PENTHRANE / WHEN CHARGEDinhaler, fluotec mark ii

A cream coloured cardboard cover with black information on the front. In the middle of the cover there is a cartoon caracter sadly looking as his teletype.teletype printer, maintenance, manual, teletype model 15

We don?t leave our identities at the city limits: Aboriginal and Torres Strait Islander people living in urban localities Bronwyn Fredericks Aboriginal and Torres Strait Islander people who live in cities and towns are often thought of as ?less Indigenous? than those who live ?in the bush?, as though they are ?fake? Aboriginal people ? while ?real? Aboriginal people live ?on communities? and ?real? Torres Strait Islander people live ?on islands?. Yet more than 70 percent of Australia?s Indigenous peoples live in urban locations (ABS 2007), and urban living is just as much part of a reality for Aboriginal and Torres Strait Islander people as living in remote discrete communities. This paper examines the contradictions and struggles that Aboriginal and Torres Strait Islander people experience when living in urban environments. It looks at the symbols of place and space on display in the Australian cities of Melbourne and Brisbane to demonstrate how prevailing social, political and economic values are displayed. Symbols of place and space are never neutral, and this paper argues that they can either marginalise and oppress urban Aboriginal and Torres Strait Islander people, or demonstrate that they are included and engaged. Juggling with pronouns: Racist discourse in spoken interaction on the radio Di Roy While the discourse of deficit with regard to Australian Indigenous health and wellbeing has been well documented in print media and through images on film and on television, radio talk concerning this discourse remains underresearched. This paper interrogates the power of an interactive news interview, aired on the Radio National Breakfast program on ABC Radio in 2011, to maintain and reproduce the discourse of deficit, despite the best intentions of the interview participants. Using a conversation-analytical approach, and membership categorisation analysis in particular, this paper interrogates the spoken interaction between a well-known radio interviewer and a respected medical researcher into Indigenous eye health. It demonstrates the recreation of a discourse emanating from longstanding hegemonies between mainstream and Indigenous Australians. Analysis of firstperson pronoun use shows the ongoing negotiation of social category boundaries and construction of moral identities through ascriptions to category members, upon which the intelligibility of the interview for the listening audience depended. The findings from analysis support claims in a considerable body of whiteness studies literature, the main themes of which include the pervasiveness of a racist discourse in Australian media and society, the power of invisible assumptions, and the importance of naming and exposing them. Changes in Pitjantjatjara mourning and burial practices Bill Edwards, University of South Australia This paper is based on observations over a period of more than five decades of changes in Pitjantjatjara burial practices from traditional practices to the introduction of Christian services and cemeteries. Missions have been criticised for enforcing such changes. However, in this instance, the changes were implemented by the Aboriginal people themselves. Following brief outlines of Pitjantjatjara traditional life, including burial practices, and of the establishment of Ernabella Mission in 1937 and its policy of respect for Pitjantjatjara cultural practices and language, the history of these changes which commenced in 1973 are recorded. Previously, deceased bodies were interred according to traditional rites. However, as these practices were increasingly at odds with some of the features of contemporary social, economic and political life, two men who had lost close family members initiated church funeral services and established a cemetery. These practices soon spread to most Pitjantjatjara communities in a manner which illustrates the model of change outlined by Everett Rogers (1962) in Diffusion of Innovations. Reference is made to four more recent funerals to show how these events have been elaborated and have become major social occasions. The world from Malarrak: Depictions of South-east Asian and European subjects in rock art from the Wellington Range, Australia Sally K May, Paul SC Ta�on, Alistair Paterson, Meg Travers This paper investigates contact histories in northern Australia through an analysis of recent rock paintings. Around Australia Aboriginal artists have produced a unique record of their experiences of contact since the earliest encounters with South-east Asian and, later, European visitors and settlers. This rock art archive provides irreplaceable contemporary accounts of Aboriginal attitudes towards, and engagement with, foreigners on their shores. Since 2008 our team has been working to document contact period rock art in north-western and western Arnhem Land. This paper focuses on findings from a site complex known as Malarrak. It includes the most thorough analysis of contact rock art yet undertaken in this area and questions previous interpretations of subject matter and the relationship of particular paintings to historic events. Contact period rock art from Malarrak presents us with an illustrated history of international relationships in this isolated part of the world. It not only reflects the material changes brought about by outside cultural groups but also highlights the active role Aboriginal communities took in responding to these circumstances. Addressing the Arrernte: FJ Gillen?s 1896 Engwura speech Jason Gibson, Australian National University This paper analyses a speech delivered by Francis James Gillen during the opening stages of what is now regarded as one of the most significant ethnographic recording events in Australian history. Gillen?s ?speech? at the 1896 Engwura festival provides a unique insight into the complex personal relationships that early anthropologists had with Aboriginal people. This recently unearthed text, recorded by Walter Baldwin Spencer in his field notebook, demonstrates how Gillen and Spencer sought to establish the parameters of their anthropological enquiry in ways that involved both Arrernte agency and kinship while at the same time invoking the hierarchies of colonial anthropology in Australia. By examining the content of the speech, as it was written down by Spencer, we are also able to reassesses the importance of Gillen to the ethnographic ambitions of the Spencer/Gillen collaboration. The incorporation of fundamental Arrernte concepts and the use of Arrernte words to convey the purpose of their 1896 fieldwork suggest a degree of Arrernte involvement and consent not revealed before. The paper concludes with a discussion of the outcomes of the Engwura festival and the subsequent publication of The Native Tribes of Central Australia within the context of a broader set of relationships that helped to define the emergent field of Australian anthropology at the close of the nineteenth century. One size doesn?t fit all: Experiences of family members of Indigenous gamblers Louise Holdsworth, Helen Breen, Nerilee Hing and Ashley Gordon Centre for Gambling Education and Research, Southern Cross University This study explores help-seeking and help-provision by family members of Indigenous people experiencing gambling problems, a topic that previously has been ignored. Data are analysed from face-to-face interviews with 11 family members of Indigenous Australians who gamble regularly. The results confirm that substantial barriers are faced by Indigenous Australians in accessing formal help services and programs, whether for themselves or a loved one. Informal help from family and friends appears more common. In this study, this informal help includes emotional care, practical support and various forms of ?tough love?. However, these measures are mostly in vain. Participants emphasise that ?one size doesn?t fit all? when it comes to avenues of gambling help for Indigenous peoples. Efforts are needed to identify how Indigenous families and extended families can best provide social and practical support to assist their loved ones to acknowledge and address gambling problems. Western Australia?s Aboriginal heritage regime: Critiques of culture, ethnography, procedure and political economy Nicholas Herriman, La Trobe University Western Australia?s Aboriginal Heritage Act 1972 (WA) and the de facto arrangements that have arisen from it constitute a large part of the Aboriginal ?heritage regime? in that state. Although designed ostensibly to protect Aboriginal heritage, the heritage regime has been subjected to various scholarly critiques. Indeed, there is a widespread perception of a need to reform the Act. But on what basis could this proceed? Here I offer an analysis of these critiques, grouped according to their focus on political economy, procedure, ethnography and culture. I outline problems surrounding the first three criticisms and then discuss two versions of the cultural critique. I argue that an extreme version of this criticism is weak and inconsistent with the other three critiques. I conclude that there is room for optimism by pointing to ways in which the heritage regime could provide more beneficial outcomes for Aboriginal people. Read With Me Everyday: Community engagement and English literacy outcomes at Erambie Mission (research report) Lawrence Bamblett Since 2009 Lawrie Bamblett has been working with his community at Erambie Mission on a literacy project called Read With Me. The programs - three have been carried out over the past four years - encourage parents to actively engage with their children?s learning through reading workshops, social media, and the writing and publication of their own stories. Lawrie attributes much of the project?s extraordinary success to the intrinsic character of the Erambie community, not least of which is their communal approach to living and sense of shared responsibility. The forgotten Yuendumu Men?s Museum murals: Shedding new light on the progenitors of the Western Desert Art Movement (research report) Bethune Carmichael and Apolline Kohen In the history of the Western Desert Art Movement, the Papunya School murals are widely acclaimed as the movement?s progenitors. However, in another community, Yuendumu, some 150 kilometres from Papunya, a seminal museum project took place prior to the completion of the Papunya School murals and the production of the first Papunya boards. The Warlpiri men at Yuendumu undertook a ground-breaking project between 1969 and 1971 to build a men?s museum that would not only house ceremonial and traditional artefacts but would also be adorned with murals depicting the Dreamings of each of the Warlpiri groups that had recently settled at Yuendumu. While the murals at Papunya are lost, those at Yuendumu have, against all odds, survived. Having been all but forgotten, this unprecedented cultural and artistic endeavour is only now being fully appreciated. Through the story of the genesis and construction of the Yuendumu Men?s Museum and its extensive murals, this paper demonstrates that the Yuendumu murals significantly contributed to the early development of the Western Desert Art Movement. It is time to acknowledge the role of Warlpiri artists in the history of the movement.b&w photographs, colour photographsracism, media, radio, pitjantjatjara, malarrak, wellington range, rock art, arrernte, fj gillen, engwura, indigenous gambling, ethnography, literacy, erambie mission, yuendumu mens museum, western desert art movement

This flag was used by Rosbercon Girls Grammar School, which operated in Brighton from 1906 until 1941. The school was established in 1906 by the Tisdall family. The Tisdalls were a family of educators: Irish-born Henry Thomas Normanton Tisdall and his wife Lucy taught for many years at the Walhalla State School in Gippsland, along with Lucy's sisters Alice and Clara Weekes. Three of the Tisdall daughters, Ethel, Constance and Theodosia (Theo) followed their mother and aunts into the teaching profession. Constance in particular considered education her true calling and harboured a dream of one day being principal of her own school. After Henry's death in 1905, faced with financial uncertainty and several unmarried daughters to support, Lucy Tisdall decided to take a risk. She sold the family's Toorak home and, together with her sister Alice, leased 'Ashburnham', a large Victorian villa at 106 North Road, Brighton. The plan was to open a private school, with Ethel and Constance as co-principals and Lucy, Alice and Theo teaching and managing the household affairs. This came as a "joyful surprise" to Constance, who was only informed of the plan after it had been finalised. The school was named Rosbercon after Henry's home village in County Wexford, Ireland. The crest, designed by son Bert Tisdall around 1910, featured a crowned letter 'A' above the motto "amor vincit omnia" ("love conquers all"), both inspired by a verse in Geoffrey Chaucer's "The Prioress's Tale": "about her arm she bore/A paire of bedes gauded all in grene,/And theron heng a broche of gold full shene,/On which there was first writ a crowned 'A',/And after, Amor Vincit Omnia." It was a motto Constance held close to her heart, embodying her values as a teacher. Reflecting in 1961, she wrote, "In a school without punishments, a school with love and understanding between teacher and pupil - with a love of teaching on one side, and a desire to learn on the other, love would indeed conquer all." The school's opening day in 1906 proved less than auspicious, with no pupils arriving at all. The women persisted and by the end of the first week, five students had been enrolled. From here, the school grew steadily in size. A new schoolroom designed by architect Harold Desbrowe-Annear was built in the house's orchard to accommodate the increasing numbers, but by 1911 the Tisdalls began looking for larger premises. They leased the nearby property 'Hazeldean' at 124 North Road and, during the 1912 school holidays, the Desbrowe-Annear schoolroom was raised onto a lorry drawn by sixteen horses and moved down the road to what would become Rosbercon's new home. In 1923, Constance instituted a modified version of the Dalton Plan, an education model based on individualised learning. Girls in senior years were encouraged to work more independently, making regular use of the reference library and working to a monthly assignment schedule. The school performed well academically and in competitive sport, but over time was eclipsed by the nearby Firbank Church of England Girls' Grammar School (established 1909), whose institutional backing provided it with access to wider resources and facilities than those of the small family-run Rosbercon. At the end of 1933, Ethel and Theo retired and Constance became principal of St Anne's Church of England Girls' Grammar School (now Gippsland Grammar) in Sale. Rosbercon was sold to Miss Iris Hay, who served as principal from 1934 until the school's closure in 1941. Following her own retirement in 1947, Constance Tisdall settled in Erica Avenue, East Malvern, in a house named 'Rosbercon' after her former school. She continued teaching English literature, mostly to migrants, and enjoyed regular visits from former students. Well into the late 1960s, old Rosbercon girls continued a tradition of coming together for an annual reunion on the first Saturday in November, on which day Constance would fly the school flag at her home.Large navy blue flag with horizontal maroon stripe at top and bottom, and school crest in centre. Stylised maroon "A" topped with yellow crown. Yellow scroll below with motto in navy blue letters: "AMOR.VINCIT.OMNIA".flag, school flag, rosbercon girls grammar school

1823-1923.MR. JAMES VENN MORGAN. "FATHER OF" KEW."In a Village in Somersetshire in England on February 21, 1823, a son was born to George and Sarah Morgan. The child was so delicate that his parents feared that he would not live. How little ground the parents parents had for their fears may be judged from the fact that the boy, christened James Venn Morgan is still alive and hale. He is able to exhibit with pride the paper with its faded ink on which a clergyman wrote the certificate of his baptism almost 100 years ago. But for some slight infirmities of sight and hearing, Mr. Morgan, who is within six weeks of completing the 100th year of his life, is in good health, and is well able to attend to his business affairs. His immediate cause for regret is that he is not now able to do a day's work in his garden, as he was 12 months ago. After spending his early life in England, where he learned his trade as shoemaker, Mr Morgan came to Australia in April, 1851. He carried letters of introduction to Mr. Tripp, a solicitor, of Melbourne, who strongly recommended him to begin business as a shoemaker, and accordingly he opened a shop at the corner of Swanston and Bourke streets, where the Leviathan Stores now stand, and was not long in working up a good connection. Among his customers at that time Mr. Morgan recalls Mr. Justice A'Beckett and many leading men in law and medicine of the day. Then the news was flashed through Melbourne of the discovery of gold at Ballarat. Nothing can give a clearer idea of the excitement this news caused in Melbourne than that Mr. Morgan, who was a member of one of the first parties to leave for the diggings, left uncompleted in his workshop one of a pair of riding boots he was making for Mr. J. B. Weir. As the purchase of suitable clothing would have taken time, he set out to make his fortune wearing a top hat. At Ballarat he stayed for five or six weeks, and returned to Melbourne with 10oz. of gold. He remained in the city long enough to finish the second of the two riding boots, and then, with three companions, set out for Chewton, near Castlemaine. Here fortune smiled. The party tried their luck in an abandoned shaft, and in two weeks returned to Melbourne again after having won 35lb. weight of gold. How Kew Was Born. Mr Morgan was content with his success, and induced his partners to invest their money with him in land. After obtaining the advice of a friend, the party negotiated with Mr Samuel Watts, of Collngwood, who had recently purchased land from the Crown, and from him they took over at £15 an acre about 32 acres of land in the district that is now known as Kew. This land extended from where the Kew Post-office now stands to the locality of the Boroondara Cemetery. At that time there was not a house in the district, and there was a fairly large population of aborigines, but no white men. Here it was that Mr Morgan decided to settle, and, after having had the land surveyed, the partners apportioned it by drawing straws for the four sections into which it had been divided. One of them sold his holding later in the year for £100 an acre, and was sorry for it afterwards. In 1853 Mr. Morgan built the first house in Kew, and this house is the one in which he still resides. Here with his wife, he settled down to market gardening and dairying. He tells with a laugh how he was paid 1/ a lb for the first potatoes he grew, and 1/ a quart for milk. So successful was the new venture that he induced his father and other members of the family to come out to Australia to assist him. How different Kew of those days was from the Kew of to-day will be understood from Mr. Morgan's statement that for weeks at a time they never saw a a white face other than those of the family. The blacks, he says, although very noisy, were entirely friendly. Gradually the district became settled, Mr. Morgan parted with a portion of his holding, and subdivided and built on the remainder which he still retains. In 1884 he found himself in a position to retire from active business. Youth in Old Age. In Mr Morgan's garden, which is a large, one trees which he and his father planted more than 60 years ago are still bearing heavy crops of apples. Mr. Morgan has been a widower since 1915. He has three daughters all of whom are married, and numerous grandchildren and great-grandchildren. One of the great-grand children reccntly informed Mr. Morgan that he was about to be married. Perhaps the most striking characteristic of Mr. Morgan to-day is his activity. Not only does he move about with surprising alacrity, but is able to go into the streets and attend to his business affairs with but little fatigue The Argus, 17 January 1923, p.12.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A group portrait on the occasion of the 100th birthday of James Venn Morgan in 1923. Dorothy Rogers used this photograph in 'A History of Kew' (1973). It faces page 17. In the book, the caption reads "JAMES VENN MORGAN'S 100TH BIRTHDAY ANNIVERSARY. The party was held at 'Morganville'. Mr Morgan is shown with a group of descendants."James Morgans 100th Birthday Party. james venn morgan, kew, model dairy, dorothy rogers

James Venn Morgan was one of the early landowners in Kew. In later life he owned the Model Dairy. This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.James Venn Morgan and his three daughtersJames Morgan and 3 daughtersjames venn morgan, dorothy rogers